Thesis (M.A.)--Trinity Evangelical Divinity School, 1992. / Abstract. Includes bibliographical references (leaves 113-118).

Inaug.-diss.--Leipzig. / Lebenslauf. Bibliography: p. [7]-8.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Oct. 9, 2007. Includes bibliographical references (p. 43-45).

Mid-nineteenth-century England saw great social transformation in the face of industrialisation, changing working and living conditions, and voting reforms, and with these changes came new conceptions of masculinity and what it meant to be a man and a gentleman. Though much critical attention has been given to Elizabeth Gaskell's representation of women—not surprisingly, given titles such as Wives and Daughters, Mary Barton, Cousin Phillis, and Ruth—her works span class, region, time, and genre to grapple with ideas of masculinity. This thesis aims to explore her understanding of masculine identity as a social construct, to examine the representation of manliness in her novels, and to consider how her writing engages with Victorian ideologies of masculinity. The introduction provides context on Gaskell's background and Unitarian faith, discourses of sympathy, Victorian manliness, and masculinity studies. The thesis is presented in three sections, each comprising two chapters. The first examines working-class masculinity and the gentleman in her industrial fiction; the second explores intertextuality, examining the ways in which she borrows and transforms notions of masculinity from contemporaries' works; and the third examines her representation of previous models of manhood in her historical fiction. Together, these sections reveal that Gaskell views masculinity not as monolithic but rather as relational and shaped by many contexts, from regional identity and historic change to intertextuality and sympathy, which echo throughout her entire oeuvre; in examining her longer fiction in juxtaposition, this thesis makes it clear that just as Gaskell views masculinity as a category that cannot be neatly contained, she systematically excludes male characters from her resolutions, struggling to contain her models of masculinity within the form of the novel. The appendix, based on archival research, presents a list of the books that Elizabeth and/or William Gaskell borrowed between 1850 and 1865 from Manchester's Portico Library.

The failed projects of modernism and post-modernism leaves a theoretical void. More specifically the author takes issue with the apparent purposelessness of architecture. At the outset of this project the author ventured a Faustian attempt at relevance. Appendix A is a speculative description of architecture as a market deliverable - a consumer product. It proposes a design method adapted to a production-line view of architectural production. In this view the architect is an integrator of ideas, constraints, processes, implications - his main deliverable is a drawing. However, during the course of researching and designing this scheme even these sentiments were found not to be watertight. Inevitably the discourse degenerated into questions of poetics and spontaneity, character and meaning, liveliness and above all - Design. The term ‘design’ mentioned here refers to the same idea encountered among pre-graduate architectural students and lay-people - consumers of architectural pornography. Design in the sense: “Can you add some design to our house. Design in the sense: “No, it doesn’t matter if it works or not - I just want to know what it’s going to look like”. The architect is the queerly dressed individual with dark-framed glasses always dressed in black - a designer, a critic, a satirist, an esoteric. At the 2005 UIA congress in Istanbul Peter Eisenmann prophesied the end of this concept of the role of architecture. Our fascination with the ocular - the image - came to a climax with 9/11. Assuming a cyclic trend he predicts that the importance of the visual spectacle will wane (Sobuwa, 2005). It is clear therefore that selling architecture to the free-market gives us a profession that is relevant but not essential. The architect is a fashion designer - his most valuable asset is his opinion packaged in reputation. His career is built on benevolent clients, dedicated to the cause of ‘good architecture’, which he meets through ‘contacts’. Here is a movement away from art - which uses a moral language to describe itself - pure forms, honest use of materials, truth, god is in the... etc - and therefore unfit for the free market (since money still resides outside moral good despite Ayn Rand’s every effort) - towards craft - which is fundamentally a method. The architect therefore does not ask why?, or in what manner? but how? The architectural craft, the acquisition of which is deemed to be the main quest of tertiary architectural education is then appropriated as a design method. This design method is a system of sequential activities manifesting nonsequential thinking and can be graphically expressed as in Figure 1. The project presented here is an attempt to apply this method. / Dissertation (MArch (Prof))--University of Pretoria, 2007. / Architecture / unrestricted

This treatise examines the discursive management of homework practices in three primary schools in Nelson Mandela Bay. Grade four is focused on as it is hoped that at this stage of their schooling, the learners are receiving homework and are familiar with the concept. The three schools are from differing social, historical, political and economic backgrounds. The schools chosen are a former model C school, a ‘Coloured’ school and a ‘Township’ school. These three diverse schools have been selected to identify the dominant Discourses that inform the homework practices. The eventual effect of these Discourses on the learners is also included. The material and personal effects on the learners is discussed. The prevalent Discourses on homework in the model C school, work to produce disciplined subjects who are able to ‘self govern’ and thereby succeed in society. At school’s B and C the dominant Discourses are of a deficit nature. These discursively position the learners as victims and subjects who are unable to manage their academic and private selves, as a result of their circumstance. While the staffs at schools B and C appear to be well intentioned, this abovementioned deficit model is perpetuated by their talk. These principals and teachers need to become aware of the power that their discursive formations contain and the impact thereof. A qualitative methodology is adopted in this study. Three different methods of data collection are employed in order to promote triangulation and thereby increase the validity of the findings. Discourse and Critical Discourse analysis provide the tools with which to analyse and draw conclusions from the gathered data.

This thesis is for a Master of Fine Arts in Painting and features the work of Elizabeth Harris.

No description available.

This collection of original poetry is preceded by a critical introduction that details how Marianne Moore and Elizabeth Bishop’s similar aesthetics in poetry have influenced my own. The following poems focus on themes that challenge the nature of “manhood,” particularly the archetype of Southern masculinity, and highlight characters who struggle to understand themselves, their desires, and their society. The critical essay tracks how Bishop’s personifications, as she grows as a poet and as her narrator’s “drive into the interior” of nature, become harder to define and control and how this loss of control precipitates a jubilant self-awareness—an awareness of the limitations and frailty of language, of poetry, and of human understanding to fully comprehend and capture the vastness of the natural world. Ultimately, this essay points toward and helps articulate my own questions (and struggles) as a poet: How much do I conceal? How much do I confess?

No description available.