This thesis examines clienteles during the reign of Edward VI, particularly those of the dukes of Somerset and Northumberland, and the role of the county elite in political society in order to reassess politics from the perspective of clientage. Edward's reign has not been extensively studied from this perspective but work by Dr Adams, Professor Guy and others on other periods provided the necessary context to reassess Edwardian politics. The aim was to investigate whether the regime continued to rely on the same core within the county elite employed in the 1520s and 1530s and again in Elizabeth's reign. This has involved extensive archival research since 1996 (in St Andrews, London and the Midlands). I have found that the privy council tried to foster a closer working relationship with the county elite in order to maintain stability and prevent faction during this period of minority government. The regime depended on the same core of gentlemen in the shires to act as commissioners of the peace and to fill the other vital local offices. Even within this group there was an inner-ring. This relationship was a two-way process and the clientage that underpinned early modem society was central to it. This study has also explored the extent to which Somerset's and Northumberland's clienteles were involved in central and local government to reassess how much the dukes operated as courtcentred or county-centred politicians. Both men dominated government in turn and their clienteles were vitally important. These were made up of their servants, family, friends and clients and were mutual self-support groups that reinforced their political and social status. Although principally intended as a political study, this research has come to incorporate military and local history. It has looked at how clienteles operated during periods of stability and crisis (the activities of Lord Seymour of Sudeley, the 1549 rebellions, the October coup, the second fall of Somerset and the succession crisis in 1553) in order to demonstrate how they really functioned.

The implications of sociobiology as presented in Wilson's Sociobiology: The New Synthesis are examined to determine to what extent 1) sociobiology can subsume sociology; 2) sociobiology is antithetical to sociology; 3) sociobiology reflects a movement within sociology. Basic assumptions of sociobiology pertinent to sociology--degree of determinism, existence of human universals, and definitions of society, culture, and human nature--are scrutinized alongside Wilson's view of sociology as a scientific discipline. The thesis explores weaknesses of both sociology and sociobiology and concludes that sociobiology, in ignoring culture as a source of behavioral motivation, is limited in reducing the sociological perspective to a biological one. Although the two disciplines have antithetical foundations, sociology has already begun to incorporate selected aspects of the sociobiological perspective.

O estadunidense Edward Fredkin, um pioneiro na área de computação, é conhecido por defender a hipótese do mundo natural ser fundamentalmente um sistema de computação digital se partirmos do princípio de que todas as grandezas físicas são discretas, de modo que cada unidade mínima de espaço e tempo possa assumir apenas uma quantidade finita de estados possíveis. Nesse cenário, as transições de estado do universo nas escalas mais elementares poderiam ser representadas por modelos de autômatos celulares, sistemas computacionais formados de unidades espaciais básicas (células) que modificam seus estados em dependência de uma regra de transição que toma o próprio estado da célula com relação às unidades vizinhas. Quando as mudanças de estados das células são consideradas em escalas maiores, é possível notar um comportamento coletivo que parece seguir uma regra própria, não contemplada na programação básica atuando no nível das células. Fredkin acredita que o nível mais microscópico de nosso universo funcione como um autômato celular e, quando sua computação é tomada em maiores escalas, o padrão coletivo é identificado com os elementos que definimos em nossa física atual como elétrons, moléculas, pedras, pessoas e galáxias, ainda que todos esses elementos macroscópicos sejam apenas o resultado de uma computação alterando estados presentes em unidades mínimas de espaço. Diante disso, a intenção deste trabalho é mostrar que a conjectura de Fredkin pode ser interpretada como uma hipótese reducionista, uma vez que todo sistema explicado por nossas teorias físicas podem ser completamente definidos em termos de uma estrutura computacional. / Edward Fredkin, an American computer pioneer, is known for defending that the natural world be fundamentally a digital computing system, assuming that all physical quantities are discrete, in a way that each unit of space and time can only attain a finite number of possible states. In this scenario, the state transitions of the universe, taking place in the most elementary scales, could be represented by cellular automata models, computer systems formed by basic space units (cells) that modify their states in dependence on a transition rule that takes the state of the cell itself with respect to neighboring units. When cell state changes are considered on larger scales, it is possible to notice a collective behavior that seems to follow a rule of its own, not contemplated in basic programming at the cell level. Fredkin believes that the most microscopic level of our universe works as a cellular automaton and when its computation is taken at larger scales, the collective pattern is identified with the elements we define in our current physics as electrons, molecules, stones, people and galaxies, although all these macroscopic elements are only the result of a computation altering the states in minimum space units. The purpose of this work is to show that Fredkin\'s conjecture can be interpreted as a reductionist hypothesis, since every system explained by our physical theories can be completely defined in terms of a computational structure.

Edward MacDowell is widely recognized as America's first great native-born composer. His music has come to be characterized as being extremely lyrical and harmonically inventive. Solo songs constitute an overlooked area of MacDowell's output and no serious study has been undertaken of them to date. The goal of this dissertation is to obtain a more complete portrait of MacDowell through a detailed examination of his songs.Previously unstudied manuscripts and sketches from the MacDowell Collection of the Library of Congress provide important insights into his songwriting process. The choice of text proved to be such an important determinant in MacDowell's settings that the author has chosen to divide the songs into three stylistic groupings based primarily on MacDowell's selection of texts rather than on chronology.In MacDowell's first-period songs, he concentrated on setting German texts while living in Germany from 1880 to 1888. Poetry by Heine, Goethe, and Klopstock plays an important role in these songs, which are stylistically similar to the nineteenth-century Lied. Chromatic harmonies, frequent modulations, and active piano accompaniments characterize these songs.MacDowell's second-period songs, written between 1886 and 1890, use English texts and differ markedly from the earlier Lieder. While many of their texts (and consequently, best songs of this group show the development of MacDowell's characteristic harmonic language and lyricism.The second-period songs serve as a transition into MacDowell's final songwriting period (c. 1893-1901), during which he wrote his most successful works. The third-period songs are delineated by the use of original poetry and represent a synthesis of the first two periods. The chromaticism and active piano parts of the lieder are combined with the new lyricism of the second-period songs.Songwriting spans MacDowell's entire career and is evidence of the seriousness with which he viewed the medium. A thorough study of the songs, both published and unpublished, reveals a steady line of development throughout MacDowell's career, with many musical advances predicated by the text. This development, which closely mirrors similar advances in the piano music, is an important factor in MacDowell's entire creative output.

Thesis (Ph. D.)--Westminster Theological Seminary, Philadelphia, 2000. / Includes abstract. Includes vita. Appendix contains the full text of the four works analyzed, with added cross-references. Hypertext published on web site of Quaker Heritage Press. Includes bibliographical references (leaves 379-389).

No description available.

Thèse (M.A.)--Université de Sherbrooke (Canada), 2006. / Titre de l'écran-titre (visionné le 6 mai 2008). In ProQuest dissertations and theses. Publié aussi en version papier.

Thesis (Ph. D.)--Catholic University of America, 1937. / Includes bibliographical references (p. 159-175).

Thesis (Ph. D.)--Catholic University of America, 1937. / Includes bibliographical references (p. 159-175).

Thesis (M.S.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record. Bibliography: l. [149]-151.