The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included. Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology. The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

This thesis presents the design, calibration, and performance evaluation of a type of two-hole pressure probe anemometer known as a Conrad probe, as well as its subsequent implementation on an autonomous, compact boundary layer measurement device and its first application for subsonic in-flight measurements of a swept wing boundary layer. Calibration of the Conrad probe was accomplished using two calibration functions and a non-nulling method for resolving in-plane flow velocity direction and magnitude over a range of ±30 degrees. This approach to calibration and application offered the advantages of rapid data acquisition with lower energy consumption than alternative methods for pressure probe anemometry in swept wing boundary layers. Following calibration, the probe was adapted for use on an autonomous boundary layer measurement device including development of revised software. Utilizing this setup, boundary layer measurements were obtained on both swept and unswept models in a wind tunnel with a maximum operational velocity of 110 mph corresponding to a dynamic pressure of 30 psf. The wind tunnel results showed that the Conrad probe could measure in-plane flow magnitude for both laminar and turbulent boundary layers with sufficient uncertainty and spatial resolution for its intended application in flight testing. The Conrad probe and boundary layer measurement system were then employed for flight tests of a 30 degree swept wing model carried beneath an aircraft at a flight Mach number of 0.52 and altitudes up to 44,000 ft. The flight test results from the Conrad probe allowed for the successful determination of overall boundary layer thickness, laminar/turbulent conditions, and degree of flow turning within the boundary layer. It is believed that the rapid data acquisition and low energy consumption of the Conrad probe implementation on the boundary layer measurement system make it a good alternative for future flight testing requiring measurements of in-plane flow velocity magnitude and direction.

No description available.

Tracked and inscribed across the centuries by traders, pilgrims and imperial competitors, the Indian Ocean is written into literature in English by Joseph Conrad, and later by selected novelists from the region. As this thesis suggests, the Indian Ocean is imagined as a space of littoral interconnections, nomadic cosmopolitanisms, ancient networks of trade and contemporary networks of cooperation and crime. This thesis considers selected fiction written in English from or about the Indian Ocean—from the particular culture around its shores, and about the interconnections among its port cities. It focuses on Conrad, alongside Amitav Ghosh, Abdulrazak Gurnah and Lindsey Collen, whose work in many ways captures the geographical scope of the Indian Ocean: India, East Africa and a mid-point, Mauritius. Conrad’s work is examined as a foundational text for writing of the space, while the later writers, in turn, proleptically suggest a rereading of Conrad’s oeuvre through an oceanic lens. Alongside their diverse interests and emphases, the authors considered in this thesis write the Indian Ocean as a space in and through which to represent and interrogate historical gaps, the ethics and aesthetics of heterogeneity, and alternative geographies. The Indian Ocean allows the authors to write with empire at a distance, to subvert Eurocentric narratives and to explore the space as paradigmatic of widely connected human relations. In turn, they provide a longer imaginative history and an alternative cognitive map to imposed imperial and national boundaries. The fiction in this way brings the Indian Ocean into being, not only its borders and networks, but also its vivid, sensuous, storied world. The authors considered invoke and evoke the Indian Ocean as a representational space—producing imaginative depth that feeds into and shapes wider cultural, including historical, figurations.

Berättelsen om testosteronet. En historisk studie av vetenskapen om det manliga könshormonet inom det manliga klimakteriet och homosexualitet. Syftet med denna uppsats är att undersöka hur historien och idéerna om manliga klimakteriet och testosteron är kopplade till de idéer som finns om sexualitet, moral och hur läkarna såg på det manliga klimakteriet. Syftet är också att förstå hur idéerna om det manliga klimakteriet har förändrats från 1920-talet jämfört med idag och hur det har diskuterats under åren av forskare. Vikten av testosteron och vilken roll idéerna om testosteron har spelat är också av betydelse för syftet i denna uppsats. I uppsatsen använder jag sociologen Peter Conrads teori om medikalisering. Conrad beskriver medikalisering genom att säga att det är en process där icke medicinska problem förändras och bli definierade och behandlas som medicinska problem och detta görs vanligen i form av sjukdom och störningar. I den här uppsatsen beskriver jag hur idéer om ett manligt klimakterium utvecklades under perioden 1920-talet – 1960-talet. Jag beskriver de idéer forskarna och läkarna hade om vad ett manligt klimakterium kunde vara. I uppsatsen undersöks även vilken effekt upptäckten av testosteron hade på idéer om det manliga klimakteriet. Debatten som läkarna har haft om det finns ett manligt klimakterium eller inte behandlas även i uppsatsen. I uppsatsen presenterar jag fyra olika svenska läkare och en finsk läkare från perioden 1920-talet – 1960-talet och behandlar deras idéer om det manliga klimakteriet och testosteron. Då diskussionen vänder sig till testosteronet presenterar jag Paul de Kruif som publicerade boken The Male Hormone (1945) och var en av de första att göra reklam för testosteronbehandling. Jag beskriver även medikaliseringen av det manliga klimakteriet och testosteron och varför det manliga klimakteriet och testosteron inte fick samma genomslag som det kvinnliga. I denna uppsats behandlas också förhållandet mellan de manliga könshormonen och homosexualitet. Jag undersöker varför läkare försökte använda testosteron och andra manliga hormon som ”botemedel” av homosexuella män och jag beskriver ett experiment som gjordes på homosexuella av den svenska doktorn Erik Lundberg. / The purpose of this essay is to investigate the history and ideas of the male menopause and testosterone and how they are linked to ideas about sexuality, morality and how the doctors viewed the male menopause. The aim is also to understand how ideas about the male menopause has changed from the 1920’s compared to today and how it has been discussed by scientists. The importance of testosterone and the role the ideas of testosterone have played is also of importance for the purpose of this essay. In the essay, I use the sociologist Peter Conrad's theory of medicalization. Conrad describes medicalization by saying that it is a process where non-medical problems change and become defined and treated as medical problems, and this is usually done in the form of disease and disorders. In this essay, I describe how the ideas of a male menopause evolved in the period 1920’s - 1960’s. I describe the ideas scientists and doctors had about what a male menopause could be. This essay also examines the impact the discovery of testosterone had on ideas about the male menopause. The debate that doctors have had if there is a male menopause or not is also discussed in the essay. In this essay, I present four Swedish doctors and a Finnish doctor from the period 1920’s - 1960’s and their ideas about the male menopause and testosterone. When the discussion turns to testosterone, I present Paul de Kruif who published the book The Male Hormone (1945) and was one of the first to promote testosterone treatment. I also describe the medicalization of male menopause and testosterone and why the male menopause and testosterone did not have the same impact as the female menopause. This essay also discusses the relationship between the male hormone and homosexuality. I examine why doctors tried to use testosterone and other male hormones as a "cure" of gay men and I describe an experiment conducted on homosexuals by the Swedish doctor Erik Lundberg.

Thesis (M.Phil) -- University of Stellenbosch, 2000 / 230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach. / AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra. / Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their positive expectation was dependent on a Germanocentric modernity narrative. Chapter 2 assesses Listenius' Musica (1537), the textbook in which the concepts of the musical work and musica poetica were expounded for the first time. I argue that, since Listenius' textbook was intended as a pedagogical tool, it is inappropriate to read his exposition of musica poetica and opus as if logical sentences on musical aesthetics. Part Two investigates the treatment of musica in the theology of early German Reformation disputants. Chapter 3 finds that Luther's early musical thought was borrowed from the late mediæval mystics, and resisted the influence of the Renaissance Platonists. Chapter 4 shows that, far from embracing humanist ideas of musical rhetoric, Luther's Reformed musical aesthetic became increasingly anti-rational and sceptical of music's relation to verbal meaning. Chapter 5 examines the discussions of music by the German Romanist polemicists. It finds that their music-aesthetic assertions were opportunistic attempts to situate the Lutherans outside the bounds of orthodoxy. The dissertation concludes that the discussions of music in early German Reformation texts ran counter to the general sixteenth-century trajectory towards a humanistic or modern aesthetic of music. It further argues that the aesthetic proposals of sixteenth-century German theologians should be taken seriously in the formation of our present-day picture of sixteenth-century musical thought.

The thesis deals with the image of mediaval roman king and emperor and his power during the first half of the 11. century, as depicted in Wipo's work Gesta Chuonradi II. imperatoris. Conrad II., the first salian ruler is used as a model example of an ideal sovereign. The analysis of Conrad's image covers his reign as a king till his death, with peculiar focus on the forming of Conrad's empire, internal and foreign policy especially towards Italy and Burgundy. Furthemore the thesis concerns the discrepancy between reality and idealized behaviour of the ruler outlined in Wipo's work, as it was intended as an emperor's praise and as a guidebook for successor to the throne. Keywords: Wipo, Conrad II., ruler's image, Roman empire in 1. st half of 11. century.

English abstract To understand why the doppelgänger, or the phenomenon of double personality, developed such literary presence in the fin-de-siècle Victorian Britain we must look to the dramatic social changes which had taken place since the beginning of the Industrial Revolution, as well as to the nascent science of psychology and its preoccupation with the subconscious in relation to consciousness. The doppelgänger typically emerges where one component of personality is suppressed due to supra-individual requirements and expectations. The doppelgänger is, therefore, closely linked to its environment. It is not so much a literary figure as an intense dialectical relationship between two sides of personality. The doppelgänger frequently constitutes a flight from the conscience, which in itself is a social construct. Both Dr Jekyll and Dorian Gray are fully conscious of the possibilities open to them through their alter egos - they may ignore the dictates of the public opinion as well as other institutions whose goal is effect a certain degree of conformity in society. The doppelgänger enables the subject to realise its unconscious ambitions. The doppelgänger may also be analysed in the context of the artist and their creation. Dorian Gray, Lord Henry Wotton, Basil Hallward and Dorian's portrait, leaving aside...