This thesis challenges the traditional view of the 'femme fatale' as merely a dangerous and ravenous sexual predator who leads men into ruination. Critical, especially feminist, scholarship mostly regards the femme fatale as a sexist construction of a male fantasy and treats her as an expression of misogyny that ultimately serves to reaffirm male authority. But this thesis proposes alternative ways of viewing the femme fatale by showing how she can also serve as a figure for imagining female agency. As such, I focus on a particular character type that is distinct from the general archetype of the femme fatale because of the greater degree of agency she demonstrates. This 'criminal femme fatale' uses her sexual appeal and irresistible wiles both to manipulate men and to commit criminal acts, usually murder, in order to advance her goals with deliberate intent and full culpability. This thesis reveals and explains the agency of the criminal femme fatales in American Hardboiled crime fiction between the late 1920s and the end of World War II in the works of three authors: Dashiell Hammett, Raymond Chandler and James M. Cain. The criminal femme fatales in the narratives of these authors show a subversive power and an ability to act - even though, or perhaps only if, this action is a criminal one. I show that these criminal femme fatales exhibit agency through their efforts to challenge not only the 'masculine' genre and the criminal space that this genre represents, but also to undercut the male protagonist's role and prove his failure in asserting control and dominance. Hammett's narratives provide good examples of how the criminal femme fatales function on a par with male gangsters in an underworld of crime and corruption. Chandler's work demonstrates a different case of absent/present criminal women who are set against the detective and ultimately question his power and mastery. Cain's narratives show the agency of the criminal femme fatales in the convergence between their ambition for social mobility and their sexual power over the male characters. To explain how these female characters exhibit agency, I situate this body of literature alongside contemporaneous legal and medical discourses on female criminality. I argue that the literary female criminal is a fundamentally different portrayal because she breaks the 'mad-bad' woman dichotomy that dominates both legal and medical discourses on female criminality. I show that the criminal femme fatales' negotiations of female agency within hardboiled crime fiction fluctuate and shift between the two poles of the criminalized and the medicalized women. These criminal femme fatales exhibit culpability in their actions that bring them into an encounter with the criminal justice system and resist being pathologized as women who suffer from a psychological ailment that affect their control. The thesis concludes that the ways in which the criminal femme fatales trouble normative socio-cultural conceptions relating to docile femininity and passive sexuality, not only destabilize the totality and fixity of the stereotype of the femme fatale in hardboiled crime fiction, but also open up broader debates about the representation of women in popular culture and the intersections between genre and gender.

The thesis focuses on the contemporary CSDP missions of the European Union from the point of view of critical literatures on imperialism, state-building and capacity-building. State-building and capacity-building gradually became dominant approaches towards weak and failing states which are associated with the exercise of power and influence in the critical literature, e.g. in David Chandler on whose argument this thesis draws on. The thesis develops Chandler's argument by means of analysis of intervention practices in the selected cases.

壹、研究目的：本研究旨在探求在不同的產業之間，依據各該產業的特質，其在垂直整合策略之作法上，有何重要之差異。本研究以汽車業、石化業、和軟體業三者為研究對象，在產業特質之諸多構面中，本研究以「交易成本」之探討為產業特質之分析基礎，對上述三個產業進行比較，進而獲得它們在垂直整合策略之選擇有何異同。 貳、文獻：依據Macnail 之契約理論，引申出買賣雙方協議與垂直整合關係之假設。依據Williamson之機構經濟學，引申出產品專屬性程度與垂直整合關係之假設。依據Harrigan之策略彈性，引申出產業演進階段、規模經濟、和產能與垂直整合關係之假設。再由Chandler之看得見的手，引申出組織內部協調是若干產業成功的原因，但卻不適用所有之產業。 參、研究方法：以個案研究法進行研究，上述三個產業各選取一家公司就重直整合作法上深入訪問。雖業界內大小規模公司極多，但所選定接受研究、訪問的公司頗具代表性，均能突顯出研究主題內相關的產業特質及其相關的垂直整合作法。 肆、研究內容：根據研究目的，就三家個案公司與其上游、下游之關係上，是以何種方式來維繫，此種類型之維繫方式是否能顯著的降低公司與上游、下游之間的「交易成本」。其交易成本表現的方式可能是在量化的資料上，但也可能表現在非量化的事實上，由於本研究採個案研究法，為顧及個案公司之接受研究之意願，故在研究內容上限於定性描述等資料之蒐集，藉以求證研究假設之真確。 伍、研究結果：由汽車業之研究中，其典型之中心衛星體系係以契約關係作為與其供應商建立關係之基礎，供應商等級制度之建立確保其供應之品質，並以此法減低公司的交易成本；石化業則因其一貫化連續生產流程，乃有多階段整合之作業，相對於所研究之另二項產業而言，其內部整合程度最高。軟體業則為腦力密集之產業，多為上游資訊硬體業所整合，或為下游大型客戶所整合，在垂直整合作為上，無適用之情形。

American literature and verse advanced in dialectal writing during the late-nineteenth century. Charles Chesnutt’s “The Goophered Grapevine” (1887), “Po’ Sandy” (1888), and “Hot-Foot Hannibal” (1899); Joel Chandler Harris’ Uncle Remus: His Songs and His Sayings (1881); Thomas Nelson Page’s “Marse Chan” (1884); and Mark Twain’s “Sociable Jimmy” (1874) and “A True Story, Repeated Word for Word as I Heard It” (1874) provided diverse dialect representations. Dialect expanded into poetry with James Whitcomb Riley’s “She ‘Displains’ It” (1888), “When the Frost is on the Punkin” (1882), and “My Philosofy” (1882) and Paul Laurence Dunbar’s “The Spellin’ Bee” (1895), “An Ante-Bellum Sermon” (1895), and “To the Eastern Shore” (1903). Dialect styles and how they conveyed political or social perspectives are assessed. Correspondence between late-nineteenth century literary figures as well as periodical reviews reveal attitudes toward the use of dialect. Reader responses to dialect based on their political or social interpretations are explored.

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Indiana University-Purdue University Indianapolis (IUPUI) / By start of the 1920s, the United States had seen nearly forty years of vast accumulations of wealth by a small group of people, substantial financial speculation and a mass change in the economic base from agricultural to industrial. All of this ended in 1929 in a crushing depression that spread not only across the country, but also around the world. Hard-Boiled detective fiction first reached the reading public early in the decade initially as adventure stories, but quickly became a way for authors to express the stresses these changes were causing on people and society. The detective is the center of the story with the task of reestablishing a certain degree of order or redemption. An important character hallmark of this genre is that he is seldom able to do this, or that the cost is so high a terrible burden remains. His decisions and judgments in this attempt are formed by his relationship with the people or community around him. The goal of this thesis is to look at the issues raised in the context of how the detective relates to a person or community in the story. For analysis, six books were chosen arranged from least level of personal relationship by the detective to the most intimate. The books are Red Harvest, by Dashiell Hammett, The Big Sleep, by Raymond Chandler, The Galton Case, by Ross MacDonald, Cotton Comes to Harlem, by Chester Himes, Devil in a Blue Dress, by Walter Mosley, and I, the Jury, by Mickey Spillane. In the study of these books, a wide range of topics are presented including political ideologies, corruption, racial discrimination and family strife. Each book provided a wealth of views on these and other subjects that are as relevant today as when they were written.

雷蒙‧錢德勒為冷硬派偵探小說的開山始祖之一，其文學地位卻不限於通俗小說大家。 其簡潔有力的文學筆觸及對於現代美國社會的深刻批判，讓他名列當代美國代表作家之列。 在錢德勒的筆觸下，洛杉磯城被深切刻畫成重要性不亞於偵探的重要主角。 故此，我在本論文將探討錢德勒對於洛杉磯身為美國現代大城的空間呈現，試圖找出其再現對於美國城市文學與偵探小說的積極影響。 在第二至第四章的本文中，第二章處理私家偵探與其出沒的洛杉磯之間的關係。 我發現漫遊者的概念也可被應用在冷硬派私家偵探的明查暗訪，這兩者在顯示現代城市的現代性方面，都是代表性的謀介。 透過漫遊者偵探的私家之眼，真實與想像的洛杉磯同時歷歷在目，而勒婓伏爾與索雅的空間理論為理解錢德勒筆下洛杉磯真實與想像的城市空間再現的一大利器。 故此，第三章運用索雅的第三空間概念來探討錢德勒的空間再現，發現其筆下墮落之城的種種暗黑角落，都是第三空間的再現，因為它們都顯現一種被宰制的空間呈現，別同於洛杉磯被大力推銷為夢想之城的想像空間。 第四章處理另一個被忽視但重要的第三空間。 藉由私家偵探親身探索洛杉磯城中不同族群的空間，我發現這些空間也是另一種第三空間的呈現，因為這些空間亦屬於被宰制壓迫的空間，而錢德勒對於洛杉磯城的空間再現並未遺忘這些他者族群被壓迫的空間，故此更能證明錢德勒不愧為刻畫現代化美國社會的文學大師。 / Raymond Chandler is a prestigious detective-story writer and the founding father of the hard-boiled detective fiction school, but he is not limited to this sub-genre of the crime fiction. His laconic style and the socially critical depiction of Los Angeles elevates him as a great writer in literature, high-brow and low-brow. Los Angeles city in his depiction becomes another protagonist of Chandler’s Philip Marlowe stories. In this thesis, I attempt to adopt a spatial reading of the Los Angeles city he depicts, so as to explore the meanings of the real and imagined spaces and their possibilities of resistance for future interpretations. Besides the first chapter as the introduction and the last chapter as the conclusion, in Chapter Two, I will first compare the private detective to the flâneur, thereby discovering the contribution of these figures to the discovery and representation of modernity in modern cities. Furthermore, I will utilize Lefebvre’s and Soja’s trialectics of spatiality to examine the real and imagined spaces in Chandler’s novels. By doing so, in Chapter Three I argue that Chandler’s vivid spatial representations of Los Angeles, especially the dark side of the city, are actually the real-and-imagined Thirdspace that represents the dominated spaces against the promotion of Los Angeles as a dream city. In Chapter Four, though Chandler’s spaces convincingly reflect the modernity of Los Angeles as a modern city, I further discover another possible site for the space of representation in his stories: the space of the racial Other. This discovery of another Thirdspace proves Chandler isn’t as much a racist as alleged, and it is the counter-space that provides the possibility of resistance for many future hard-boiled detective fiction writers of different ethnicities, and this can explain why Chandler’s hard-boiled detective has been massively appropriated.

In der nichtlinearen Datenreihenanalyse hat sich seit etwa 10 Jahren eine Monte-Carlo-Testmethode etabliert, die Theiler-surrogatmethode, mit Hilfe derer entschieden werden kann, ob eine Datenreihe nichtlinearen Ursprungs sei. Diese Methode wird kritisiert, modifiziert und verallgemeinert. Das, was Theiler untersuchen will braucht andere Surrogatmethoden, die hier konstruiert werden. Und das, was Theiler untersucht braucht gar keine Monte-Carlo-Methoden. Mit Hilfe des in der Arbeit eingeführten Begriffs des Phasensignals werden Testmöglichkeiten dargelegt und Beziehungen zwischen den nichtlinearen Eigenschaften der Zeitreihe und deren Phasenspektrum erforscht. Das Phasensignal wird aus dem Phasenspektrum der Zeitreihe hergeleitet und registriert außerordentliche Geschehnisse im Zeitbereich sowie Phasenkopplungen im Frequenzbereich. <br /> <br /> Die gewonnenen Erkenntnisse werden auf das Problem der Polbewegung angewendet. Die Hypothese einer nichtlinearen Beziehung zwischen der atmosphärischen Erregung und der Polbewegung wird untersucht. Eine nichtlineare Behandlung wird nicht für nötig gehalten. / In the nonlinear data analysis there is a popular Monte Carlo Test method due to Theiler (it was established about 10 years ago), the Theiler surrogate method, which tests whether a time series is of a linear origin. This method is being criticized, modified and generalized in this thesis. What Theiler wants to test, needs other surrogate methods, which are constructed here. And what Theiler really tests, does not need Monte Carlo methods. With the help of the concept of the phase signal, that is introduced here, other test options are possible. The phase signal helps also in investigating the relations between the nonlinear characteristics of the time series and their phase spectrum. The phase signal is derived from the phase spectrum of the time series and registers extraordinary events in the time domain as well as phase couplings in the frequency domain. <br /> <br /> These theoretical approches are applied to the problem of polar motion. The hypothesis of a nonlinear relationship between the atmospheric excitation and the pole movement is examined. A nonlinear treatment is not considered necessary.

Syftet med den här uppsatsen är att genomföra en jämförande studie av den klassiska Hollywood-deckaren, representerad av de tre första filmerna i Thin Man-serien, och film noir. Analysen utgår ifrån Thin Man-filmerna The Thin Man (1934), After the Thin Man (1936) och Another Thin Man (1939) och noir filmerna The Maltese Falcon (1941), Laura (1944), The Big Sleep (1946) och Dark Passage (1947). Den grundläggande teorin för uppsatsen är genreteori och hur den klassiska Hollywood-deckarfilmen skilde sig ifrån film noir. Analysen är uppdelad i fyra kapitel, i vilka olika delar av innehållet i både Thin Man-filmerna och de fyra exemplen av film noir analyseras. De olika kapitlen handlar om manliga huvudkaraktären, den kvinnliga huvudkaraktären, hur de olika filmerna hanterade ämnen berörande sex och sexualitet och hur samhället och människorna representeras i filmerna. Slutsats omfattar sedan en diskussion om uppsatsens resultat och svaret på varför Thin Man-filmerna inte räknas som film noir.

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