Thesis (B.A.)--Haverford College, Dept. of History, 2003. / Includes bibliographical references.

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In this paper it is illustrated that late eighteenth-century English travel guidebook writers promoted idyllic rural landscapes that met or were created to meet picturesque tastes while concurrently advocating the alteration of regional landscapes by means of agriculture, industry and transportation routes. While the impulses behind nostalgic and developed landscapes are at cross-purposes, both were concepts used by guidebook authors to renegotiate perceptions of their local regions: the former to exhibit regional beauties and marvels by appealing to the prevailing aesthetics, the latter to combat stereotypes of backwardness, reframing regional identities within national trends of development and "improvement." In this way late eighteenth-century travel guidebooks afford an interesting perspective on the rural English landscape of that period and how it was seen, experienced and represented by local promoters.

Since the end of the second World War, the development of economic theory has proceeded in two paths: on the one hand there has been the task of consolidating the achievements of Keynesian doctrine and of welding the new aggregative concepts to the main body of neo-classical thought; on the other hand a vanguard of theorists has ventured into the little-explored territory of economic dynamics. As always, the systematic development of supporting historical and institutional data goes on behind the front-runners. This thesis is concerned mainly with the former of these developments. It deals with the monetary aspects of private investment in a single sector of the economy, and attempts to resolve certain differences between the traditional and the modern approaches to money matters. As such, it might be called a study in the applied theory of interest. Expressed otherwise, the thesis examines the financial mechanism by means of which the gap between savings and investment in the mortgage market was bridged in Great Britain. The most general conclusion drawn from the study is that the institutional framework distorted the allocation of loanable funds and served to impede the functioning of the price mechanism. This being the case, a monetary policy based on the assumption of a freely operating price system in the money market was bound to be unrealistic. The contributions of this thesis fall under three headings. [...]

JUDGE: Go away Barbara. I’ve had enough. Should we all be kind? You are lukewarm and will be vomited. There are two camps, Barbara, mine and theirs. Either you are with, or you are against. Although English playwright Caryl Churchill wrote the three scripts examined in this thesis more than thirty years ago, each captures our contemporary zeitgeist in sometimes surprising ways. These works explore the shifting politics of power, revealing binary and essentialist representations that not only continue but have been strengthened on all sides in recent years, suggesting their central importance in defining and controlling culture. This thesis examines how Churchill subverts conventional forms of representation and probes the ways in which she herself has been represented by critics and scholars at various periods of her writing career. It is my contention that these processes operate in tandem, performing an ongoing dialogue. Because of the dynamic nature of this dialogue, the aim here is not so much to provide an increasingly unified or finite understanding of the artistic milieu from which a play emerges, as it is to recognize the level of complexity underlying the mutable and political process of its interpretation. I have undertaken a detailed exploration of three lesser-known short scripts from 1972, a ‘watershed’ year for Churchill, culminating in the relative success of Owners, her first major stage play. While many of her earlier works have been deserving of further exploration, a number of them have been largely overlooked in the broader environment of her subsequent contribution to contemporary theatre. The particular scripts that I explore in the course of this thesis are: The Hospital at the Time of the Revolution; Schreber’s Nervous Illness and The Judge’s Wife, an unperformed stage play, a radio play and a television play respectively. These works are worthy of exploration because of their experiments with the politics of subjectivity as it impacts on race, gender and social class, and notions of ‘legitimacy’ that shift with a person’s changing circumstances. Each of these plays implicitly demonstrates the importance of subjectivity in relation to representational power as it places characters who have traditionally been silenced at the centre of the action. I have titled my thesis Caryl Churchill: Representational Negotiations and Provisional Truths. In invoking this title I pre-empt the engagement of a subjective, strategic essentialist approach, both in critiquing this period of Churchill’s work and in declaring the assumptions of the arguments contained in the pages that follow.

Thesis (B.A.(Hons.))--University of Adelaide, Dept. of History, 1975.

Thesis (Ph. D.)--University of Pennsylvania. / "Reprinted from the University of Illinois studies in social sciences, volume VI, number 4." Bibliography: p. 247-251.

Thesis (PH. D.)--University of Pennsylvania. / Bibliography: p. 117-123. Also available in digital form on the Internet Archive Web site.

Univ., Diss.--Münster, 2003. / Literaturverz. S. XIII - XVIII.

Thesis (Ph. D.)--University of Chicago, 1898. / Reproduction of original from Harvard Law School Library. Includes bibliographical references (p. iii-xxii).