The benefits system recognises that both disabled adults and children incur extra costs because of their disability. Yet little is known about the nature and extent of these costs, particularly for children. This thesis discusses the financial, social and emotional costs to parents of bringing up a child with a severe disability. A total of thirty-six focus group discussions were held with approximately 300 parents of severely disabled children. During these group discussions parents negotiated and agreed the minimum essential costs of bringing up a child with a severe disability. These data were used to construct budget standards, which were used to compare parents actual spending on disabled children and to investigate whether parents were able to afford to meet the budget standard. All the figures in this report have been up-rated by the Retail Price Index to year 2000 figures.

Thesis (M.S.)--Brigham Young University. Dept. of Marriage, Family, and Human Development, 2008. / Includes bibliographical references (p. 61-64).

Thesis (doctoral)--Universität Hamburg, 1983. / Includes indexes. Includes bibliographical references (p. 369-379).

Thesis (M.A. in sociology)--Washington State University. / Includes bibliographical references.

Thesis--University of Minnesota. / Includes bibliographical references.

Thesis (D. Min.)--Denver Seminary, 2008. / Includes bibliographical references (leaves 164-177).

This thesis is a study of the family saga in British women’s writing and explores how women writers between the two World Wars and within the context of modernity appropriated the genre. At the turn of the twentieth century social changes in British society led people to a reconsideration of what family and modernity meant. The re-imagining of family experience thus caused a flourishing of family sagas, particularly among women writers, and these sagas enjoyed a widespread readership and sales. Yet, the family saga has attracted little academic interest and criticism, and it has even been pejoratively labeled as ‘middlebrow’ writing, seen as conservative, domestic and feminine. Thanks to the initial male production of the family saga in the early twentieth century, a conservative tradition of the family saga was established: a family saga was a lengthy multi-generational family narrative, written in the realist mode, about the evolution of a family and its family dynamics. However, women writers have made shifts and appropriations of this literary form so as to make the personal world of the family political and open the genre to the discussion of a variety of topics. By tracing the differences in the family sagas written by Rose Macaulay, Vera Brittain and Virginia Woolf from the conventional family saga, this study argues that in the hands of women this feminine and middlebrow genre can be used for a serious consideration of feminism, the institution of the family and questions of history and modernity. I will also overturn the conventional assumption of the conservativeness of the family saga by arguing that the genre opens up space for progressive considerations of the family as well as space for modernist innovation. Thus, Rose Macaulay articulates her unique idea of the ‘indefinite sameness’ in history to dialogue with modern views of the past in Told By An Idiot; Vera Brittain expresses her feminism through her ideal of the ‘companionate marriage’ in Honourable Estate (1936); and Virginia Woolf captures the changes in British families through her modernist portrait of a modern family in The Years. / published_or_final_version / English / Master / Master of Philosophy

No description available.

No description available.

Thesis (Ph. D.)--Columbia University, 1922. / Vita. Bibliography: p. 99-108.