This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of sexual interaction – On Chesil Beach, Gertrude and Claudius, Sabbath’s Theater, and The Act of Love – to conceptualise categories of sexual exceptionality. My study is not a survey, and the texts have been chosen as they focus on different sexual behaviours, thereby opening up a variety of sexual exceptionalities. I concentrate on male writers and narratives of heterosexual sex as most work on sex, time and space is comprised of feminist readings of literature by women and queer work on gay, lesbian or trans writers and narratives. However, in the Coda I expand my argument by turning to Emma Donoghue’s Room, which, as the protagonist has been trapped for the first five years of his life, provides a tabula rasa’s perspective of exceptionality. Through my analysis of exceptionality, I provide spatiotemporal readings of the hymen, incest, adultery, sexual listening and the arranged affair. I also conceptualise textual exceptionalities – the incestuous prequel, auricular reading and the positionality of the narrator, the reader and literary characters. Exceptional sex challenges the assumption in recent queer theory that to be out of time is ‘queer’ and to be in time is ‘straight’. Furthermore, exceptionality complicates the concepts of perversion and transgression as the norm and its transgression become indistinct in the state of exception. In contrast, exceptionality offers a new, more determinate way to analyse narratives of sex.

This dissertation evaluates the degree of "fit" in employing Emotionally Focused Couple Therapy [EFCT] within the context of congregational ministry and/or a Christian counselling center to counsel evangelical couples who have experienced an "attachment injury." The present study introduces and examines the possibility that, given an appropriate level of theological reflection, EFCT is an appropriate counselling methodology for use by evangelical clergy and counselors. Beginning with an examination of the values, assumptions and practices of EFCT this study explores three dimensions of the interface between EFCT and ecclesiastical practice: a) a theological reflection on the values and assumptions that inform the practice of EFCT; b) a comparison of EFCT with the marital counselling theories of Howard Clinebell, Jr., Larry Crabb, Jr., H. Norman Wright, and Everett L. Worthington, Jr., noting how each of these theories conceptualizes and treats both the marital dyad and emotional experience; and, c) an examination of Christians' perceptions of, and receptivity to, this model. The research demonstrates that the pastoral adaptation of EFCT highlighted in this study was rated favorably but not superior to the other four models. Specifically, it is noted that those who had previously experienced marital counselling, pastoral or otherwise, appeared to be attracted to the EFCT model as it was presented, even though the exemplar did not explicitly incorporate either the use of scripture, prayer, religious homework, or spiritual themes such as forgiveness and mutuality in marriage. The fact that even in the absence of an explicitly spiritual emphasis EFCT received high ratings suggests there is something within the model that speaks to the committed evangelical believer. The study concludes that even though EFCT may not be known within the evangelical community the perspective it offers "fits" with the values of this part of the Christian community and seems to appeal to those who have previously experienced marital difficulties. As a result, it may be stated that EFCT offers a mode of intervention that is suitable for use with evangelical Christians. / Practical Theology / D. Div. (Pracical theology)

Stories of home do more than contribute to a culture that creates multiple ways of seeing a place: they also claim that the represented people and their shared values belong in place; that is, they claim land. Narrators of post-war B.C. resource communities create narratives that support residents’ presence although their employment, which impoverishes First Nations people and destroys ecosystems, runs counter to contemporary national constructions of Canada as a tolerant and environmentalist community. As the first two chapters show, neither narratives of nomadic early workers nor those of contemporary town residents represent values that support contemporary settler communities’ claims to be at home, as such stories associate resource work with opportunism, environmental damage, race- and gender-based oppression, and social chaos. Settler residents and the (essentially liberal) values that make them the best people for the land are represented instead through three groups of alternate stories, explored in Chapters 3-5: narratives of homesteading families extending the structure of a “good” colonial project through land development and trade; narratives of contemporary farmers who reject the legacy of the colonial project by participating in a sustainable local economy in harmony with local First Nations and the land; and narratives of direct supernatural connection to place, where the land uses the settler (often an artist or writer) as a medium to guide people to meet its (the land’s) needs. All three narratives reproduce the core idea that the best “work” makes the most secure claim to home, leading resource communities to define themselves in defiance of heir industries. Authors studied include Jack Hodgins, Anne Cameron, Susan Dobbie, Patrick Lane, Gail Anderson-Dargatz,D.W. Wilson, Harold Rhenisch, M.Wylie Blanchet, Susan Juby, and Howard White. / Graduate / 2017-09-08

Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Si Norman McLaren (1914-1987) œuvre principalement dans le domaine onirique de l’animation, David Cronenberg (1943-), parfois surnommé « The Baron of Blood », réalise des films de fiction appartenant à un genre singulier qu’il a lui-même développé, celui de « l’horreur intérieure ». Que peuvent donc partager ces deux cinéastes aux univers a priori si distincts ? Chacun a construit une relation à long terme avec un compositeur : Maurice Blackburn (1914-1988) pour le premier, Howard Shore (1946-) pour le second. Mais si les univers des deux réalisateurs ont été maintes fois investigués, l’apport de leurs compositeurs respectifs demeure peu examiné. Or, d’un univers à l’autre, la musique semble jouer un rôle de toute première importance, chacun des compositeurs étant impliqué très tôt dans le processus cinématographique. Cette implication précoce dans la création collective est indicatrice de la place et du rôle centraux qu’occupent Blackburn et Shore et leur musique au sein de l’œuvre de McLaren, d’une part, et de Cronenberg, de l’autre. De la sorte, les partitions semblent ne pouvoir être considérées comme une simple illustration sonore des films, mais comme une composante tout à fait fondamentale, relançant dès lors la question du rôle de la musique au cinéma : comment le définir ? En outre, au fil de la rencontre continue sur plusieurs films, musique et cinéma en sont venus à un entrelacement tel qu’un style singulier de musicalisation des images se serait développé : quels sont les traits qui définissent ce style ? D’une collaboration à l’autre, cette thèse cherche à établir une poïétique de la création musico-filmique ; elle cherche à décrire et à comprendre les processus créateurs filmique et musical qui déterminent la composition d’une musique de film et, plus encore, une musicalité de tout le complexe audio-visuel. À travers des portraits examinant la pratique et le discours des créateurs et quatre analyses de bandes sonores (A Phantasy de Norman McLaren, Jour après jour de Clément Perron, Crash et A Dangerous Method de David Cronenberg), des liens se tissent peu à peu entre les pensées et les pratiques des deux compositeurs qui développent des stratégies similaires et originales face aux problèmes que leur posent les œuvres de McLaren (l’indissociabilité de la musique et de l’image) et de Cronenberg (la « transformation de l’esthétique humaine »). D’un binôme à l’autre, le cinéma se transforme en un laboratoire musico-filmique où chacun élabore une « méthode dangereuse » qui force l’analyste à explorer de nouvelles avenues méthodologiques. / Norman McLaren’s (1914-1987) animation work evokes a primarily dream-like world. David Cronenberg (1943-), also sometimes known as the “Baron of Blood,” makes fiction films that belong to a singular genre he developed: the “inner horror.” So what can these two filmmakers possibly have in common? They both built a long-term relationship with composers: Maurice Blackburn (1914-1988) for the former and Howard Shore (1946-) for the latter. Though the distinct approaches of these two directors have been widely studied, the weight of the contributions of their respective composers remains largely unmeasured. And this, despite the fact that music seems to play a primary role in these two directors’ process since, in each instance, the composer is involved very early on. This unusually early involvement of the composer, and the ongoing collaboration it entails, are indicative of the central place and role held by Blackburn and Shore’s music in McLaren’s work on the one hand, and Cronenberg’s on the other. This considered, their scores must no longer be seen as direct sound illustration of the films, but rather as essential components of the films, even though such a stance forces us to rethink how we define the role of music in film. Furthermore, from film to film, music and cinema become so intertwined that a singular style of musicalization of the image develops, begging the question: what are the characteristics of this style? From one collaboration to the other, this thesis seeks to establish a poietic of film-music creation; it looks to describe the cinematic and musical creative processes that determine the composition of film music and, beyond that, the musicality of the entire audio-visual complex. Through portraits that investigate the practice and discourse of creators and through the analysis of four soundtracks (A Phantasy by Norman McLaren, Day After Day by Clément Perron, Crash and A Dangerous Method by David Cronenberg), the thoughts and practices of the two composers, who develop similar innovative strategies to solve the problems posed by the works of McLaren (the inseparability of music and image) and Cronenberg (the “transformation of human aesthetics”), are gradually connected. From one duo to another, cinema becomes a musical and cinematic laboratory where each develops a “dangerous method” which forces the analyst to explore new methodological avenues.

Early modern English Catholic eschatology, the belief that the present was the last age and an associated concern with mankind’s destiny, has been overlooked in the historiography. Historians have established that early modern Protestants had an eschatological understanding of the present. This thesis seeks to balance the picture and the sources indicate that there was an early modern English Catholic counter narrative. This thesis suggests that the Catholic eschatological understanding of contemporary events affected political action. It investigates early modern English Catholic eschatology in the context of proscription and persecution of Catholicism between 1558 and 1603. Devotional eschatology was the corner stone of individual Catholic eschatology and placed earthly life in an apocalyptic time-frame. Catholic devotional works challenged the regime and questioned Protestantism. Devotional eschatology is suggestive of a worldview which expected an impending apocalypse but there was a reluctance to date the End. With an eschatological outlook normalised by daily devotional eschatology the Reformation and contemporary events were interpreted apocalyptically. An apocalyptic understanding of the break with Rome was not exclusively Protestant. Indeed, the identification of Antichrist was not just a Protestant concern but rather the linchpin of Reformation debates between Catholics and Protestants. Some identified Elizabeth as Jezebel, the Whore of Babylon. The Bull of Excommunication of 1570 and its language provided papal authority for identifications of Elizabeth as the Whore. The execution of Mary Queen of Scots was a flashpoint which enabled previously hidden ideas to burst into public discourse. This was dangerous as eschatology and apocalypticism was a language of political action. An eschatological understanding of contemporary events encouraged conspiracy. The divine plan required human agents. Catholic prophecy and conspiracy show that eschatology did not just affect how the future was thought about but also had implications for the present. This thesis raises questions about Catholic loyalism which other scholars have also begun to challenge. Yet attempts to depose or murder the monarch was not the only response which could be adopted. Belief that one was living in the End also supported what this thesis terms ‘militant passivity’. Martyrs understood their suffering as a form of eschatological agency which revealed and confirmed the identities of the Antichrist and the Whore. The Book of the Apocalypse promised that they would be rewarded at God’s approaching Judgement and the debates of the Reformation would be settled by the ultimate Judge. As martyrs came to symbolise the English Catholic community, it came to understand itself eschatologically. This thesis argues that acknowledging the eschatological dimensions of Catholic perception and action helps us to re-think the nature of early modern English Catholicism.

The purpose of this thesis is to bring forward and discuss the American vision for space exploration found at NASA's homepage, how the vision is popularised and why. NASA's homepage is analyzed as popularized science and the theoretical perspective emanates from the field of popular science and especially the work of Johan Kärnfelt. The historical reference is made up by Howard E McCurdy and he's thoughts about space and the American imagination. The analysis is based on a number of documents that popularize the vision for space exploration and is intended for the public. These documents describe the future plan for NASA and US space exploration. / Syftet med denna uppsats är att undersöka hur de amerikanska rymdvisionerna gestaltats på NASA:s hemsida, hur dessa populariseras samt vilka de bakomliggande drivkrafterna kan tänkas vara. NASA:s hemsida kommer att ses som populariserad vetenskap och det teoretiska perspektivet utgår från den populärvetenskapliga genren där en stor del av det teoretiska underlaget utgår från docenten Johan Kärnfelts tankar om populariseringen av vetenskap. Som historisk referens används professor Howard E. McCurdys tankar om den amerikanska rymdvisionen. Materialet som ingår i analysen är hämtat från NASA:s hemsida. Samtliga dokument handlar om den amerikanska visionen om rymden och USA:s fortsatta aktiviteter i rymden.

<p>The purpose of this thesis is to bring forward and discuss the American vision for space exploration found at NASA's homepage, how the vision is popularised and why. NASA's homepage is analyzed as popularized science and the theoretical perspective emanates from the field of popular science and especially the work of Johan Kärnfelt. The historical reference is made up by Howard E McCurdy and he's thoughts about space and the American imagination. The analysis is based on a number of documents that popularize the vision for space exploration and is intended for the public. These documents describe the future plan for NASA and US space exploration.</p> / <p>Syftet med denna uppsats är att undersöka hur de amerikanska rymdvisionerna gestaltats på NASA:s hemsida, hur dessa populariseras samt vilka de bakomliggande drivkrafterna kan tänkas vara. NASA:s hemsida kommer att ses som populariserad vetenskap och det teoretiska perspektivet utgår från den populärvetenskapliga genren där en stor del av det teoretiska underlaget utgår från docenten Johan Kärnfelts tankar om populariseringen av vetenskap. Som historisk referens används professor Howard E. McCurdys tankar om den amerikanska rymdvisionen. Materialet som ingår i analysen är hämtat från NASA:s hemsida. Samtliga dokument handlar om den amerikanska visionen om rymden och USA:s fortsatta aktiviteter i rymden.</p>

The resident feral cat (Felis catus) population on the University of KwaZulu-Natal (UKZN), Howard College campus (HCC) in Durban, South Africa was studied from March 2004 to November 2005. This study was initiated as the HCC is an registered as an urban conservancy and so should be removing alien invasive flora and fauna and conserving the indigenous biodiversity of the campus. This research was undertaken to assist with recommendations for the control and management of feral cats on the HCe. A survey to determine public perceptions and opinions regarding the feral cats was conducted among various communities on the campus. Feral cats from the resident population on the HCC were trapped and fitted with radio-collars in order that their home range sizes and distribution could be determined. Monthly census counts were also carried out in an attempt to calculate population densities of the feral cats on campus, while data on behaviour patterns was collected opportunistically throughout the study period. The survey showed that two extreme views existed on campus regarding the presence of feral cats. The university is a registered conservancy which some feel is no place for this exotic species. However, it is also situated within an urban surrounding and there are some cat enthusiasts among the public who feel that resources should be provided for the feral cats, both nutritionally and financially. While many people were unaware that the feral cats were a cause for concern on the HCC, the majority concluded that a management policy needed to be adopted to control feral cat numbers. Most were against the suggestion of eradicating the cats and strongly agreed with the implementation of a university funded feral cat IV sterilising and feeding programme. Feeding the feral cats, however, needs to be stringently controlled. In this study, the availability of an abundance of food resources was shown to be the primary influencing factor for home range size, cat distribution and population densities. It also had an overriding effect on the feral cats' behaviour patterns and activity levels. Once these had been initially established, other factors such as human activity, reproductive status and gender then came into play. Distribution of the feral cats around campus was not homogenous, and densities differed according to areas on campus. Highest cat densities were recorded in those areas on the HCC where permanent cat feeding stations had been established (usually the developed areas on campus), while no feral cats were sighted in the Msinsi Nature Reserve, a natural bush area on campus were no food resources (other than prey species) is available. Home range sizes of the feral cats were relatively small with a considerable amount of overlap between and within the sexes. There were also no seasonal differences in range sizes and diurnal ranges were only marginally smaller than nocturnal range sIzes. In terms of behaviour, the HCC feral cats were generally inactive, with passive behaviour such as lying down and sitting being most often observed. Although hunting activity was very rarely witnessed, the combined effects of feral cats supported at high densities by supplemental feeding may exert predation pressures that could be detrimental to both local prey and predator populations. Little social interactions were observed by the cats on the HCC. Other studies show that competition is greatly reduced if food is available in abundance and there is no need for territorial disputes if both food and a potential mate are located in close proximity. In the present study, this also means that immigrating feral cats from surrounding neighbourhoods are tolerated; another factor contributing to the increase in feral cat numbers on the campus. These findings suggest that the feral cat population on the HCC is being maintained at higher population densities than would be expected and management initiatives are needed to control the feral cat population at a minimum density through a sterilising and low key feeding programme so that it is acceptable to all concerned parties. However, the decisions need to favour the status of the HCC as a conservancy in an urban area as well as consider the well-being of the students and staffmembers in a public place. / Thesis (M.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

This dissertation evaluates the degree of "fit" in employing Emotionally Focused Couple Therapy [EFCT] within the context of congregational ministry and/or a Christian counselling center to counsel evangelical couples who have experienced an "attachment injury." The present study introduces and examines the possibility that, given an appropriate level of theological reflection, EFCT is an appropriate counselling methodology for use by evangelical clergy and counselors. Beginning with an examination of the values, assumptions and practices of EFCT this study explores three dimensions of the interface between EFCT and ecclesiastical practice: a) a theological reflection on the values and assumptions that inform the practice of EFCT; b) a comparison of EFCT with the marital counselling theories of Howard Clinebell, Jr., Larry Crabb, Jr., H. Norman Wright, and Everett L. Worthington, Jr., noting how each of these theories conceptualizes and treats both the marital dyad and emotional experience; and, c) an examination of Christians' perceptions of, and receptivity to, this model. The research demonstrates that the pastoral adaptation of EFCT highlighted in this study was rated favorably but not superior to the other four models. Specifically, it is noted that those who had previously experienced marital counselling, pastoral or otherwise, appeared to be attracted to the EFCT model as it was presented, even though the exemplar did not explicitly incorporate either the use of scripture, prayer, religious homework, or spiritual themes such as forgiveness and mutuality in marriage. The fact that even in the absence of an explicitly spiritual emphasis EFCT received high ratings suggests there is something within the model that speaks to the committed evangelical believer. The study concludes that even though EFCT may not be known within the evangelical community the perspective it offers "fits" with the values of this part of the Christian community and seems to appeal to those who have previously experienced marital difficulties. As a result, it may be stated that EFCT offers a mode of intervention that is suitable for use with evangelical Christians. / Philosophy, Practical and Systematic Theology / D. Div. (Pracical theology)

Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface. / Arts, Faculty of / Music, School of / Graduate