The thesis examines Urizen in relation to Blake's intellectual, religious and artistic background. The ideas of jealousy, possessiveness and the cruelties of Kings and Priests are already present in early Blake. These various kinds of restriction contribute to the notion of the 'bounded', the sources of which are traced to empirical philosophy, though it has a very wide reference in Blake. It is central to the meaning of Urizen, whose name probably derives from a Greek verb meaning 'to bound, limit'. But Blake also believed in firm outline. Is this not a limit? The difference between the two notions of 'bound' is examined, with reference to the Neoplatonists: the contrast is very close to that between the 'mechanic'and the 'organic'. Urizen develops in relationship with his antagonists, Ore and, more subtly, the Bard. Ore and Urizen are both described in terms of the serpent and Satanic imagery, which suggests that they are part of the same malaise. The Bard looks like Urizen, for the Priest derives from the Poet, as Blake would have learned from contemporary primitivist writers. Urizen, like the Priest, abstracts the Infinite from the world of Forms. The sources of this idea are to be found in Fludd and the Gnostics. The Ore-cycle finds its fullest expression in Vala. Blake may have thought of Urizen and Ore as the opposed poles of the cycle of Melancholy and Mania: Urizen owes much to the iconography of Saturn and Melancholy. It is this cycle of alternating and divided Reason and Energy which Blake now thinks the true evil: Satan the Selfhood. There are many alchemical sources for a divided Satan, such as we see in the guises of Urizen and Luvah in Illustrations of the Book of Job. But Blake also comes to value the qualities of a redeemed Urizen, who had always had the grandeur of the Creator about him. The Priest may become the Bard again, as in the Job illustrations; or to put it another way: the 'bounded' may become Living Form.

This thesis deals with the cognitive process of cinematic character construal and explores the question of how narrative film viewers presumably understand characters and make impressions about them as a result of the interplay of different types of schema. Based on the cognitive concept of schema (Barlett [1932] 1995), Speech Act Theory (Austin, 1962; Searle, 1969) and cognitivist film theory (Bordwell,1985), a cognitive framework, which is inscribed within the cognitive stylistics theories and analytical frameworks, is proposed for character impression formation. The model posits that viewers understand characters in terms of the interactions between three planes of background knowledge: 1. Social knowledge (knowledge of real-life people, social roles, and interpersonal relations), 2. Narrative film knowledge (knowledge of film narrative, style and techniques), 3. Pragmalinguistic knowledge (knowledge of linguistic and pragmatic norms. The focus of the linguistic plane is on Speech Act Theory). This research argues that film draws on medium-specific, multimodal devices to tell the story and create characters. With regard to the multimodality of film discourse, this thesis suggests a toolkit for character creation and comprehension. The three planes of social, film and pragmalinguistic schemas and also the marked aspects of the suggested cinematic character creation toolkit are all applied to three art auteur films: The Piano Teacher (2001), Autumn Sonata (1987), and Ten (2001), whose comprehension is challenging for viewers Pragmalinguistic because of their deviations from the conventional norms of Hollywood cinema in terms of narrative, characterization, cinematic style and techniques. Methodologically, this analysis is informed by multimodal analysis (Kress and van Leeuwen, 1996), and multimodal transcription (Baldry and Thibault, 2006) in particular, which consider text as an ensemble of different communication modes all of which contribute to meaningmaking. Thus, this analysis presents a detailed account of viewers' plausible understanding trajectory, and an explanation of linguistic and visual/cinematic strategies to narrative (as the context in which characters are created and developed), and particularly character creation within the scope of the films mentioned above.

Thesis (M. A.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (M.Soc.Sc.)--University of Hong Kong, 2006. / Title from title page (viewed Apr. 19, 2007) Includes bibliographical references.

Thesis (M. Ed.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

In this paper we find irreducible characters of G=SL(k,Z/p^nZ) where n >= 2, k=2,3 and, p is an odd prime. In the case k=2 we give a construction for every irreducible character of G without calculating the character values. Our method is based on finding a normal subgroup of G and applying Clifford theory. / Mathematics

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1932. / "Sonderabdruck aus den "Schriften des Mathematischen Seminars und des Instituts für angewandte Mathematik der Universität Berlin" Band 1"--T.p. verso. Vita. Includes bibliographical references.

Diss.--Göttingen. / Vita. Bibliography: p. 153-164.

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references.

Writing development has generally been assumed to be parasitic to reading development (e.g. Van Orden, Jansen op de Harr, & Bosman, 1997). However, recent studies suggest that writing may not be entirely dependent on reading. Among the limited number of writing studies, the majority of them focus on alphabetic scripts such as English. Chinese script, which is non-alphabetic, receives less attention in writing research. It has been suggested that three sub-character units – stroke, logographeme and radical – are involved in the character writing process. However, their roles in writing are still not clear and their influences on writing and writing development have not been systematically addressed. The present study aimed at studying the relevant processing units in writing development. Before investigating the roles of different sub-character units in writing, a corpus was established to identify a set of logographemes which can capture the use of logographemes among primary school students. The properties of logographemes were studied, including the lexicality and the frequency across different grades. After the identification of logographemes, the roles of radical, logographeme and stroke in writing from grades one to six were investigated using a delayed copying task of pseudo-characters. Pseudo-characters were composed varying orthogonally in radical frequency, number of logographemes, and number of strokes. The results show that logographeme number and radical frequency affected the writing performance of students across the six grades. This suggests that both logographeme and radical are prominent processing units across writing development. Significant effect of stroke was found when the logographeme number and the radical frequency were high. This suggests that stroke is a prominent processing unit when the logographemes and radicals are less accessible. It is interesting that the stroke effect was found to be reversed in some specific occasions. Distinctiveness of logographemes is suggested to explain the phenomenon. Finally, the overall results are discussed in terms of the grain size theory (Ziegler & Goswami, 2005). / published_or_final_version / Speech and Hearing Sciences / Master / Master of Philosophy