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Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 132-133). Also available in electronic format on the Internet.

Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 95-96). Also available in electronic format on the Internet.

Once declared as a habitual relic of ‘the Third World’ countries, patrimonial regimes have re-emerged on a global scale. Even in the fully bureaucratized states, patrimonial relations made a convincing comeback. How did patrimonialism, which used to be condemned as an artifact from a distant past, prove to be so tenacious, even resurgent in the current global political economy? How does modern capitalism, which emerges painfully out of the crucible of patrimonial states and empires, become, once again, a patrimonial formation? What makes patrimonial-type regimes resilient? In pursuit of this question, the dissertation analyzes the historical-social conditions of possibility for the longevity and resilience of the Ottoman Empire –a patrimonial and bureaucratic empire that ruled a vastly diverse population of people spread over three continents and did so with relative peace and stability. How did the Ottomans keep their patriarchal core and its patrimonial organization intact for six centuries? The research finds three elements that contributed to the maintenance of the empire’s patrimonial formation: adab, an Islamic tradition of professionalism, good manners, and moral propriety; a patrimonial status elite (devşirme) composed of men separated from their non-Muslim parents at childhood and carefully cultivated as Ottoman Sunni Muslims and employed in various capacities for state service; and third, a specialized apparatus of the patriarchal state, the imperial palace schools formed as a network around the main academy at the Topkapi Palace, the Enderûn-ı Hümâyûn. The dissertation focuses on the life, curricula, and pedagogy at the Enderûn campus. As part of the imperial academy’s courtly habitus the Islamic tradition of adab was central to the students’ upbringing and cultivation. How did this historically unique combination of (tradition, status, and apparatus) contribute to the Ottoman Empire’s structural stability and organizational endurance?

Nabokov is well known for writing numerous indictments of totalitarian tyranny, most notably Invitation to a Beheading (1935) and Bend Sinister (1947). However, my contention in this thesis is that Nabokov�s most sustained and most significant assault on totalitarian tyranny occurred in 1938. The extent of Nabokov�s response to tyranny in 1938 is not immediately obvious. Some of Nabokov�s work of the year engages in an explicit assault on tyranny; however, in other cases the assault is oblique and in one instance cryptically concealed. In my thesis I examine each of the works of 1938, and set these against the political circumstances of the year, the tense atmosphere on the threshold of World War II. I find that all of the works of 1938, in one manner or another, respond to the political climate of the day; that Nabokov in 1938 made an unparalleled artistic response to tyranny in a uniquely ominous year. The thesis is divided into two parts. Part 1 contains studies of each of the lesser works of 1938: chapter 5 of The Gift, "Tyrants Destroyed," The Waltz Invention, "The Visit to the Museum," and "Lik." These studies are inset into a chronological survey of the personal and political circumstances of Nabokov�s life in 1938. Part 2 constitutes the most significant aspect of my thesis, an in-depth study of The Real Life of Sebastian Knight, Nabokov�s main work of 1938. The novel has been regarded as detached from the pre-war climate of the day; however, in an extensive new reading I find that the bright appearance of the novel is only a facade. My reading reveals a triadic, chess-problem-like structure to the novel, where the innocuous surface (the thesis) gives way to a cryptically concealed level of totalitarian themes (the antithesis), before the novel finally emerges onto a notional third level (the synthesis), the novel�s "solution." The Real Life of Sebastian Knight, I contend, represents the heart of Nabokov�s artistic response to tyranny in 1938. Through the triadic unfolding of the novel and the reader�s creative engagement with the text, Nabokov demonstrates that art itself triumphs over tyranny.

This research is to discuss the Chinese pre-Qin legalist school, Shang Yang's political thought. First, the purposes of the research are as follows: 1.To understand the background of Shang Yang¡¦s political thought and analyze the foundation of his political thought. 2.To discover the principles of Shang Yang¡¦s political thought. 3.From the principles of Shang Yang¡¦s political thought, analyze his political objectives. 4.To analyze Shang Yang¡¦s actual policies of agriculture and fight. 5.To sum up this research results to comment on Shang Yang's political thought. Therefore, based on the purposes of the research, the principles of Shang Yang¡¦s political thought is rule by law, attempt to achieve the powerful nation. The concrete method is the policies of the agriculture and fight. So, the following are the results of the analysis of this research: 1.Shang Yang advocates ¡¥rule by law.¡¦ 2.Shang Yang promotes anti-wisdom. 3.Shang Yang advocates despotism. 4.Shang Yang contends that clear reward and hard punishment can make the monarch rule smoothly. 5.Shang Yang proposes that the monarch rules by the system, rather than by man.

This study aims to investigate how, in Montesquieu’s Persian Letters (1721), religion and religious structures are presented to influence women’s position in French society. In Persian Letters Montesquieu presents a dogmatic religious life, which proceed from a literal interpretation of the bible. Such a reading raises critical questions concerning the nature of women, and subsequently places man over woman. Persian Letters show how this male dominance gets institutionalized in marriage. The religious life depicted is also distinguished by a non-genuine religious conviction and by acts which take on a simulation form. The compliance with the religious order has little to do with religious conviction and more to do with fear of punishment and social stigma. Montesquieu also shows how Christianity can be said to battle against human nature and especially her sexual passion. Montesquieu calls the divine origin of the bible into question, and instead suggests it was written by human hand. Subsequently, by means of rational thinking, a humanist perspective and a utilitarian principle, he questions a world order founded on a dogmatic interpretation of the bible. Fear as a central part of the religious life, the subjects complete subordination to the religious structures, the suppression of the human passions and simulating modes of actions are all central parts in what Montesquieu calls despotic structures. In Persian Letters he exposes parallels between religious despotism, political despotism and despotic family life. Montesquieu further links women’s situation directly with the political life. Within the family, Montesquieu tells us, citizens first developed a relationship to power, and power structures. These experiences later come to influence the individual’s behaviour in society, and constitute the foundation for the political life.

Since its earliest appearance, the word $ tau upsilon rho alpha nu nu acute iota varsigma$ referred to absolute rule obtained in defiance of any constitution that existed previously. In early Greek lyric poetry, tyranny is represented as a divine blessing, but one that meets with opposition against the tyrant and puzzlement at the behaviour of the gods. In Archilochus and elsewhere tyrannical ambition is termed eros. The common property that makes both tyranny and beauty objects of eros is luminosity: As the 'radiance' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of beauty is to the lover, so the 'splendour' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of tyranny is to the tyrannical "lover". The major symbol of tyrannical luminosity is gold. Conspicuous use of wealth and women contributed to the visibility of tyrannical splendour.

Nabokov is well known for writing numerous indictments of totalitarian tyranny, most notably Invitation to a Beheading (1935) and Bend Sinister (1947). However, my contention in this thesis is that Nabokov�s most sustained and most significant assault on totalitarian tyranny occurred in 1938. The extent of Nabokov�s response to tyranny in 1938 is not immediately obvious. Some of Nabokov�s work of the year engages in an explicit assault on tyranny; however, in other cases the assault is oblique and in one instance cryptically concealed. In my thesis I examine each of the works of 1938, and set these against the political circumstances of the year, the tense atmosphere on the threshold of World War II. I find that all of the works of 1938, in one manner or another, respond to the political climate of the day; that Nabokov in 1938 made an unparalleled artistic response to tyranny in a uniquely ominous year. The thesis is divided into two parts. Part 1 contains studies of each of the lesser works of 1938: chapter 5 of The Gift, "Tyrants Destroyed," The Waltz Invention, "The Visit to the Museum," and "Lik." These studies are inset into a chronological survey of the personal and political circumstances of Nabokov�s life in 1938. Part 2 constitutes the most significant aspect of my thesis, an in-depth study of The Real Life of Sebastian Knight, Nabokov�s main work of 1938. The novel has been regarded as detached from the pre-war climate of the day; however, in an extensive new reading I find that the bright appearance of the novel is only a facade. My reading reveals a triadic, chess-problem-like structure to the novel, where the innocuous surface (the thesis) gives way to a cryptically concealed level of totalitarian themes (the antithesis), before the novel finally emerges onto a notional third level (the synthesis), the novel�s "solution." The Real Life of Sebastian Knight, I contend, represents the heart of Nabokov�s artistic response to tyranny in 1938. Through the triadic unfolding of the novel and the reader�s creative engagement with the text, Nabokov demonstrates that art itself triumphs over tyranny.