This thesis examines the development of identity of people with learning difficulties. It concentrates on an aspect which has hitherto not received significant attention, that is the importance of recognition of work in the developmental process. In order to do this the thesis defines work in a particular way, based on the work of E Jaques. It defines work in terms of the decision making process which leads to an external transformation of the world. It is the recognition of this transformation by another person which affirms the actor and enhances a sense of self. For this recognition to be effective, i.e. help in the development of identity, the thesis argues that it is critical to understand the way in which a person constructs their world and links intention with action. A general model is offered to describe this process whereby the person moves from a subjective construction of the world (a world of subjective discontinuity) to one which can be understood by others (interactive discontinuity). Although the model can be applied generally the thesis examines problems faced by people with learning difficulties due to their relatively limited intellectual ability, communication skills and not least the particular social context in which many have lived, i.e. institutional care. The thesis begins by examining the problem of the appropriate social role for such people given the current intention to allow each person to develop to their full potential. This involves a discussion of social policy leading to a consideration of institutionalisation and its alternatives. Then the model of identity development is presented in terms both general and specific to people with learning difficulties. In the context of methods of assessment a particular form of assessment, The Chart of Initiative and Independence, is considered in the light of the main thesis of identity development. Its subsequent use is then analysed and compared with other approaches in different settings. The thesis concludes by appreciating the limitations of both the model of identity development and the C.I.I, and considering complementary approaches whilst underlining the significance of recognition of work in any setting.

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This study proposes a theory of texture for Elliott Carter's song cycle A Mirror on Which to Dwell. Texture is an important structural aspect of much recent music, as is exemplified in Carter's music. The first chapter is introductory and discusses other textural theories, and the concept of auditory streams. It also provides background to Elizabeth Bishop and to the poems that Carter selected for the cycle, and introduces the song cycle as a whole. The second chapter outlines a textural theory based on streaming. Texture is defined as comprising those contextually defined aspects of sound which lead one to perceive music as consisting of distinct streams. Individual streams are defined by properties, behaviours processes. The ways in which streams are combined, and the changes that occur in the streams during the combinations constitute textural behaviours and processes. The third chapter presents the ways in which textural behaviours and processes can function. They can have symbolic functions by representing personae and actions in the text. They can also have musical functions and thus can play a role in the delineation of form. In the fourth chapter each song in the Mirror cycle is analyzed. Songs that are texturally clear are analyzed first, followed by those that are more texturally complex. Because of the close relationship between text and music in these songs, each analysis starts with a discussion of the text before turning to the music. The main textural features of each song are presented, and then the analytical discussion focuses on form and text-setting. In the conclusion an overview of the songs is presented. The songs, although formally diverse, are similar in many respects. In all of them Carter establishes the important streams, some of which have significant symbolic roles, in the opening measures. The songs are characterized by similar textural processes, which help to delineate the form of the songs and to portray musically the meaning of the text. An analysis of these songs using the textural theory presented in this study provides insight into their form and meaning.

Pierre Elliott Trudeau's ideas on liberal democracy and political philosophy are relevant to Canadian life. He is a modern liberal democrat with a vision of the 'Good' society - what he terms the Just Society. The values of a Just Society are numerous, but perhaps, the most important are freedom, equality, and tolerance. These values are core to his theory and are often revealed in his battle against nationalism. Trudeau is radically opposed to notions of ethnic nationalism, such as French Canadian and Aboriginal nationalism, but he supports a type of civic nationalism within a federal, pluralistic system. In his dislike for nationalism, Trudeau is similar to Lord Acton, who has had a major influence on his work. Trudeau also shows thought similar to John Locke, J.S. Mill, I. Berlin, de Tocqueville, Publius, and John Rawls.

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation.

This thesis investigates the use of houndedness. claims for credibility and the exploitation o\' reflexive accounting within know ledge w ork. The current literature t'rom the sociology of scientific knowledge is used to contextualize this investigation, which constructs the thesis' central problem as a concern with the way boundary maintaining and boundary breaking activities contribute to the distribution of science and technology into its wider context. Two distinct and apparentK contrasting knowledge cultures are used to explore this problem; the social studies of technology (SST-1) is constituted as an academic knowledge culture and stratified systems theory (SST-2) is constituted as a consultancy culture. Ethnographic investigation and a variety of textual forms are used to address each of these cultures and the relationship between them. The constituted distinction is used as a further resource for investigating the problem. Chapters one to three provide the "introduction', 'aims' and "methodology' and exemplify boundedness, credibility and reflexivity in the culture of SST-1. Chapters four to six provide the "data' chapters of the thesis and exemplify boundedness, credibility and reflexivity in the culture of SST-2. This investigation identifies the concepts of unlocatability. conscription of members at the margins, and flexible and locked boundedness as key features of SST-2. In the final chapter, this thesis claims the apparent contrast between SST-1 and SST-2 is unsustainable as they can both be constructed as "working" via the variable 'incorporation' of "entities' (people, roles, locations, artefacts, ideas) into "conscripting organisms'. However, the boundaries constructed for the production of this thesis allow us to establish SST-1 and SST-2 as similar in using conscription and distinct in the focus of conscription. SST-1 is constituted as conscripting at the core and SST-2 is constituted as conscripting at the margins.

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation.

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 100-128). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--Georgia Southern University, 2006. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts" ETD. Includes bibliographical references (p. 151-158)

Thesis (Ph. D.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 346-354).