CPTU is one of the most sophisticated geotechnical investigation methods. However, there is a large amount of uncertainties related to this method. The uncertainties depend on different types of factors, for instance lack of accuracy in performance and equipment. The objective of this master thesis is to compare the CPTU-results from a number of commercial actors in Stockholm/Mälardalen in order to analyze these results with respect to the current standards and guidelines. The comparison was made in order to highlight the difference in results which may appear due to different equipment, performance of the operator and evaluation method. Based on this, an invite was sent to the commercial actors in Stockholm/Mälardalen, resulting in the participation of five different commercial actors in this investigation. Execution in the field was conducted over a six week period. During this time 26 CPTU were performed in total in a small area in Hagby, Stockholm, by these different actors. Once the data was collected from all of the actors, the results were evaluated with the aid of the computer softwares Conrad and Excel. The main conclusions from this study are: Not one of the performed CPTU in this master thesis fulfills the requirements for CPT class 1 according to the European standards. The quality of the education of operators should be improved and geotechnical engineers and the clients need to be more familiar with CPTU. The evaluated results from different commercial actors differ, and this can depend on the choice of equipment and performance of the operator during penetration, but it can also depend on systematic errors in the cone penetrometers / CPTU-sonderingar är en av de mest sofistikerade undersökningsmetoderna för geoteknisk analys och bedömning. Det finns emellertid en hög grad av osäkerhet i denna metod. Osäkerheten beror på olika typer av faktorer, bland annat brist på noggrannhet i handhavande och utrustning. Syftet med detta examensarbete är att jämföra CPTU-resultat från de kommersiella aktörerna i Stockholm/Mälardalen för att senare analysera dessa resultat i förhållande till gällande ramverk och riktlinjer. Jämförelsen gjordes med avsikt att lyfta fram skillnaderna i resultat som kan uppstå på grund av olika utrustning, handhavande och utvärderingsmetod. Baserat på detta skickades en inbjudan till de kommersiella aktörerna i Stockholm/Mälardalen, vilket ledde till att fem olika kommersiella aktörer deltog i undersökningen. Utförande i fält genomfördes under en period på sex veckor. Under denna tid utfördes totalt 26 sonderingar i ett avgränsat område i Hagby, Stockholm, av dessa olika aktörer. När all data samlats in från alla aktörer utvärderades resultaten med hjälp av mjukvarorna Conrad och Excel. De viktigaste slutsatserna i denna studie är: Ingen utav de utförda CPTU-sonderingarna uppfyller kraven för CPT klass 1 enligt den europeiska standarden. Kvaliteten på utbildning av fältgeotekniker bör förbättras och geotekniska ingenjörer och även beställare bör bli mer bekanta med CPT. De utvärderade resultaten från de olika aktörerna skiljer sig åt, och detta kan bero på valet av utrustning och fältgeoteknikerns prestation vid sondering men det kan också bero på systematiska fel i de använda sonderna.

This thesis investigates representations of exile in Hollywood cinema in the period between 1930 and 1956 through the films of Peter Lorre, Béla Lugosi and Conrad Veidt. It aims to dispel the remarkably durable assumption prevalent in critical approaches to Hollywood cinema that by virtue of its hegemonic, reactionary and exclusionary modes of representation, especially in what is considered its ‘Golden Age,’ otherness is excluded from, or only obliquely alluded to in Hollywood cinema. This thesis contends that Hollywood uses European émigré actors to speak of the experience of exile, exilic attempts at integration into the host nation, and the sometimes grand, often pitiful failures of these attempts. Dictated largely by its contention that a consistent and fairly constant discourse surrounding exile can be apprehended in Hollywood cinema, this thesis focuses primarily on the film texts that form its corpus. The close reading of key texts is underpinned by a productive clash with existing critical writings on exile, shifting the focus back to the films, themselves, from analyses of the system, historical accounts of migration and exile, or critical evaluations of archival material and the impact of marketing and political strategy on production. The thorough engagement with the films is further supported by an interdisciplinary critical framework. Theories of the nation and national cinema (Hayward, 2000), body theory (Butler, 1993), and critical works on identity, stereotyping and pathology (Gilman, 1985; 1991; 1995) are combined with critical accounts of immigration in the US (Behdad, 2005) and analyses of the significance and symbolism of blood in US concepts of nationhood (Chinn, 2000) to explore the complex system of representation that dictates the onscreen lives and deaths of exilic stars. Critical works on the language of death and bereavement (Seale, 1998; Hallam et al, 1999), the concept of the posthuman (Halberstam et al, 1995), Lefebvre’s theory of space (1991) and Baudrillard’s analysis of interior design are used to elaborate my argument further.

The aim of this essay is to investigate ways in which the narrative in Joseph Conrad’s The Secret Agent reflects the political views within and around the novel. The narrative focus of the essay is plot-structure and focalisation, and the political focus circles around anarchy and anarchism. The essay discusses how the anarchist’s belief in individual freedom and Conrad’s scepticism towards politics is reflected in the novel’s narration. I also discuss how the narrator uses irony to reflect Conrad’s scepticism.

No description available.

No description available.

This thesis focuses on several paintings of the Mexican landscape produced by Conrad Wise Chapman (1842 – 1910) and held by the Valentine Richmond History Center in Richmond, Virginia. Chapman lived in Mexico from 1865 to 1867 and from 1883 to 1908 (with a few short absences), and during this period, produced a large number of landscapes, which are the subject of this thesis and will be considered as an amalgamation of both nineteenth-century Mexican landscape painting and traveler-art. It is the purpose of this study to demonstrate that Chapman’s artistic style embodies both classical components of landscape painting and characteristics commonly associated with traveler-art. This investigation of Chapman’s Mexican oeuvre provides significant insight into a period of the artist’s career that has long been neglected, and it examines several works of art not yet considered by scholars.

This dissertation begins from the problem that is built into realism as a literary genre: its commitment to capturing the unfiltered circumstances of human life will always be at odds with the artifice of its representational constructs and its fiction. In this study, I consider visuality as a central, productive part of this problem and seek intensely visual moments within realist novels where realism wages its own struggle with itself as it attempts to navigate its limitations and push forward its possibilities. These moments pause the narrative as they prioritize picture over action. As descriptive moments work to render visual images through words on the printed page, they are fraught with realism’s struggle to use the artifice of fiction as a means for approximating an ostensible reality. Facing this difficulty, realist practitioners take up vastly different strategies. In this project, I investigate why and how visuality is deployed so differently by those who chose to write in this mode. I seek that which is piercing in the nineteenth-century realist novel by locating moments of crisis and tension, both within the plot and also within the strategies of the stories’ delivery. These are moments where the novel becomes troubled by the visual, revealing the potential and limit of the image. In realism, visuality encompasses a broad and varied array of strategies, including instances of enargeia and ekphrasis, passages that seek to evoke a sense of place or milieu through a rich catalog of visual detail, expressive self-renderings in the dialog and inner monologs of the characters, explorations of the embodied act of seeing, and moments where perception fails or visual description exposes itself as insufficient. I consider a small group of canonical authors: George Eliot, Thomas Hardy, Henry James, and Joseph Conrad, who are of critical importance to this genre and to nineteenth century realism, as it moves towards modernism. By examining moments in their novels where descriptive imagery is at its most acute, I seek to explain how moments of intense visuality are crucial nodes where each author, using unique and distinctive methods, negotiates the problem of realist representation.

This dissertation examines the motif of idolatry in the work of two modernist authors, Oscar Wilde and Joseph Conrad, and one modernist filmmaker, Alfred Hitchcock. The idols in these texts serve a contradictory role, signifying both increasing commodification under capitalism and an attempt to formulate a new ethics of image-making in response to this global transition. Chapter 1 analyzes Wilde’s play Salomé. Attending to the original French and to biblical allusion, I demonstrate that the text’s key generative trope is idolatry, which occupies a position both sacred and profane. The play superimposes two moments of historical rupture, positing Salomé as the embodiment of a new artistic potential of idolatry under monopoly capitalism. Chapter 2 analyzes Conrad’s early fiction, particularly The Nigger of the “Narcissus,” “The Return,” “Karain,” and Nostromo. I track a three-stage development in Conrad’s representations of idols, whereby the idol is associated with utopian fantasy, false ideals, and the artistic process. I also identify a new image-making technique, “retroactive modification,” which attempts to destabilize the image and thus counter problems of narrative representation, particularly reification and historical inauthenticity. Chapter 3 analyzes Hitchcock’s Blackmail, Saboteur, and Shadow of a Doubt, and challenges the notion of Hitchcock as auteur. The first two films culminate in sequences featuring monumental and iconic statuary. In the earlier British film, this process signifies a reckoning with history; in the later American film, it signifies the threat of history’s erasure and the degradation of art. Shadow of a Doubt signals a shift to a post-modern global-capitalist paradigm and a focus on the celebrity idol. My methodology builds on the work of Fredric Jameson and Slavoj Žižek to elucidate cultural fantasies underlying the texts and the ways in which the texts perform the psychical maneuver of disavowal, whereby a proposition is simultaneously asserted and denied. This double movement in Wilde, Conrad, and Hitchcock’s texts bespeaks a striving, through the motif of idolatry, to represent the image in motion. Though this desire is finally realized in the technology of film, the authenticity of that realization is undermined by the historical contradictions that enable its production. / 2020-12-11T00:00:00Z

This thesis was assigned by the Department of German principally to learn through the study of the German newspapers of the day what influence the German-American population of Indiana might have had upon the election of Governor Conrad baker and also upon his whole administration as such; since Governor Baker was of German descent and the act, August 16, 1859, which provided when the German language should be taught in the common schools, also took effect when Baker was Governor of Indiana.

This thesis aims to contribute to an answer to the question, “What would a philosophy, and more specifically, an ethics, based on Christ, look like?” My first contention is that we find, in the ethical thinking of Karl Barth and Dietrich Bonhoeffer, two particularly radical and complementary attempts to point toward Christ as the basis or foundation of any genuine ethics. What sets the views of Barth and Bonhoeffer apart from many of the other philosophical and theological approaches to ethics, is the extent to which they seek to take seriously the ethical implications of the gospel – the revelation of God's grace in the Word and work of Jesus Christ – for ethics. My second contention is that, even if we follow neither Barth nor Bonhoeffer in the detailed outworking of the character of a Christologically grounded ethics, we nevertheless cannot avoid facing the radical challenge each of these men poses, in their own related but distinct ways, that in thinking about ethics we must take Christ as our standard and foundation. In the first two chapters, on Barth and Bonhoeffer respectively, I identify the structure and content of their arguments and display their textual basis in the texts most relevant to the topic, namely Barth’s Church Dogmatics and Bonhoeffer’s Ethics. I also present an outline of the character of a Christologically-grounded ethics as each of these theologians derives it from its Christological basis. In the third chapter I examine the cogency of their arguments.