I arbetet besvaras två frågor om vilka designprinciperna är för traditionella trädgårdsstäder från början av 1900-talet samt hur trädgårdsstaden kan anpassas med nutida forskning och praktik till dagens kontext. Ett gestaltningsarbete av ett bostadsområde har utformats med framtagna designprinciper som en del av analysen. Utgångspunkten är en nutida trädgårdsstad i låg och tät bebyggelse. Förslaget utarbetas sig i Kungsmarkens högskaliga miljonprogramsområde som ett alternativ till bebyggelsen som finns på plats idag. Platsens förutsättningar har beaktats gällande; verksamheter, målpunkter, omgiven bebyggelse, trafik, barriärer, utsikter, grönska och topografiska skillnader. Vidare så har målsättningen i det alternativa planförslaget varit att skapa lika många bostäder som idag finns på platsen. Arbetet har undersökt om en nutida låg och tät trädgårdsstad, kan vara ett av alternativen till dagen byggnadsideal.

The purpose of this thesis is to develop and test the Advanced Integrated Model, a typological model in the tradition of Weber’s interpretive sociology, as an asset in explaining recent transformations in American Episcopal-Anglican organizations. The study includes an assessment of the church-sect tradition in the sociology of religion and a summary overview of Weber’s interpretive sociology with special emphasis on the nature and construction of idealtypes and their use in analysis. To illustrate the effectiveness of the model a number of institutional rivalries confronting contemporary Episcopal-Anglican organizations are identified and shown to be explainable only from a sociological perspective and not simply as “in house” institutional problems. The present work sheds light on parent-child conflicts in religious organizations and reopens discussion about the theoretical value of ideal-types in general, and church-sect typologies in particular, when utilized from a comparative-historical perspective

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Nous pensons que les lectures préexistantes ont fait le choix de prioriser le récit et que le déplacement proposé par Stanley Cavell dans sa lecture de King Lear, prêtant la cohérence au personnage, nous invite, sur le même modèle, à faire une lecture similaire concernant les films de Disney. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie, et ici particulièrement des rapports de pouvoir. Recomposer certaines séquences importantes du film, c’est le rééclairer en reprenant les matériaux musicaux mêmes du compositeur du film (Alan Menken), pour en redistribuer les emphases — notion à laquelle nous ne donnons pas qu’une valeur musicale, mais une valeur philosophique, reprenant à Stanley Cavell cette idée qu’une différence d’accent peut faire toute la différence du monde. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Elle aide à réfléchir au film et à ses interactions tout en faisant monter à la surface ladite promesse dont le film cherchait à bloquer l’actualisation. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux à l’intérieur des films dans lesquelles s’expriment les héroïnes. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicaux. L’ensemble de la musique, dans son lien au complexe audio-visuel, nous permet ainsi de réfléchir aux rapports de pouvoir inscrits dans le film. / From aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that the previous studies of these films made the choice of prioritising a narrative analysis where ours is to take into account of the character’s consistency, as does Stanley Cavell in his reading of King Lear. The main idea is to see this new composition as an alternative version the composer could have come up with, and to measure how we can go from the recomposition to the original sequence and end up with another angle for the analysis of the movie. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition of specifics sequences will help us to point out that the film makes a choice thanks to musical emphasis — notion that is not only musical but also philosophic, as Stanley Cavell points out that a difference of emphasis is able to make all the difference in the world. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. Going back and forth into the movie thanks to the musical recomposition brings to light the importance of the musical numbers where the heroines have a space and moment to express themselves. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie.

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The purpose of this case history was to view the development of the Saskatchewan Adult Attendance Centre Project through the perspective of currently accepted, but selected, adult education philosophy, principles, and techniques. The Project was a mandatory adult education component of Probation Services, a program for adult offenders operated by Saskatchewan Corrections. The story of the evolution from 1979 to 1984 of the two Adult Attendance Centres of the Project, based in the cities of Regina and Saskatoon, was presented in the context of an historical overview of the education of adults in the Corrections systems of Britain, the United States, and Canada. The Attendance Centres were not set up as adult education institutions. They were intended to be cost effective alternatives to incarceration. The study maintained that sentencing that included attendance at the Centres was more cost effective for the provincial government than incarceration or traditional probation. It argued that the kind of education presented to adult probationers in the Centre programs often strayed from currently accepted adult education philosophy, principles, and techniques. None the less, significant potential existed in the Centres for the creation of more meaningful adult education opportunities for persons on probation.

The purpose of this case history was to view the development of the Saskatchewan Adult Attendance Centre Project through the perspective of currently accepted, but selected, adult education philosophy, principles, and techniques. The Project was a mandatory adult education component of Probation Services, a program for adult offenders operated by Saskatchewan Corrections. The story of the evolution from 1979 to 1984 of the two Adult Attendance Centres of the Project, based in the cities of Regina and Saskatoon, was presented in the context of an historical overview of the education of adults in the Corrections systems of Britain, the United States, and Canada. The Attendance Centres were not set up as adult education institutions. They were intended to be cost effective alternatives to incarceration. The study maintained that sentencing that included attendance at the Centres was more cost effective for the provincial government than incarceration or traditional probation. It argued that the kind of education presented to adult probationers in the Centre programs often strayed from currently accepted adult education philosophy, principles, and techniques. None the less, significant potential existed in the Centres for the creation of more meaningful adult education opportunities for persons on probation.

The following Thesis is a survey of seventeenth-century uranography, with specific focus on the use of the Pleiades and Charles's Wain by English poets and pageant writers as astrological ciphers for the Stuart dynasty (1603-1649; 1660-1688). I then use that survey to address the problem of irony in John Dryden's 1685 Pindaric elegy, "To the Pious Memory of Mrs. Anne Killigrew," since the longstanding notion of what the Pleiades signify in Dryden's ode is problematic from an astronomical and astrological perspective. In his elegiac ode, Dryden translates a young female artist to the Pleiades to actuate her apotheosis, not for the sake of mere fulsome hypberbole, but in such a way that Anne (b. 1660-d. 1685) signifies for the reign of Charles II (1660-1685) in her Pleiadic catasterism. The political underpinnings of Killigrew's apotheosis reduce the probability that Dryden's hyperbole reserves pejorative ironic potential.

This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.

The focus of this practical theological study is Pentecostalism, and the relationship between the hermeneutics of Pentecostalism and Postmodernism. Through a literary search, we observe the points of congruency between the hermeneutics of early Pentecostals and the key tenets of Postmodernism. We note the unprecedented acceptance of Pentecostal scholars into the larger theological world and question whether this is a result of the increased Modernization of Pentecostal hermeneutics. The Postmodern world of youth is explored, and we observe their tremendous openness to spirituality. This thesis will show that Pentecostals may contribute to the Christian world a Pentecostal hermeneutic that will speak a relevant message to generations of youth. Chapters two and three examine the convergent viewpoints of Pentecostalism with Postmodernity, in terms of rationalism, narratives, and the place of experience in life and theology. Chapter four highlights the hermeneutical debate between Gordon D. Fee and his Pentecostal responders, noting the Modern approach in the principles debated. Chapter five seeks to provide interaction with a giant of theology seldom engaged by Pentecostals - Rudolf Bultmann - and his modern followers, and explores the world of Postmodern youth. Chapter six explores the work of Kenneth Archer, who has proposed a specific Pentecostal hermeneutical approach, and chapter seven discusses the role of the Holy Spirit in hermeneutics, including whether Pentecostal experience may be considered an ”edge” in hermeneutics. Chapter eight summarizes the findings of this study. / Practical Theology / D. Th (Practical Theology)

The thesis examines the international law pertaining to the use of force by states, in general, and to the use of force in self-defence, in particular. The main question addressed is whether the use of force, which was purported to be in self-defence, by the United States, the United Kingdom and their allies against al Qaeda, the Taliban and Afghanistan, beginning on 7 October 2001, was lawful. The thesis focuses not only on this specific use of force, but also on the changing nature of conflict, the definition of terrorism and on the historical evolution of limitations on the use of force, from antiquity until 2006. In the six chapters which trace the epochs of international law, the progression of five inter-related concepts is followed: limitations on the resort to force generally, the use of force in self-defence, pre-emptive self-defence, the use of forcible measures short of war, and the use of force in response to non-state actors. This historical analysis includes a particular emphasis on understanding the meaning of the 'inherent right of self-defence', which was preserved by Article 51 of the United Nations' Charter. This analysis is then applied to the use of force against Afghanistan which occurred in 2001. Following the terrorist attacks of 11 September, the US and the UK notified the United Nations Security Council of their resort to force in self-defence under Article 51. Each element of Article 51 is analysed and the thesis concludes that there are significant doubts as to the lawfulness of that decision to employ force. In addition to the self-defence justification, other possible grounds for intervention are also examined, such as humanitarian intervention, Security Council authorisation and intervention by invitation. This thesis challenges the common assumption that the use of force against Afghanistan was an example of states exercising their inherent right to self-defence. It argues that if this particular use of force is not challenged, it will lead to an expansion of the right of self-defence which will hinder rather than enhance international peace and security. Finally, this thesis draws on recent examples to illustrate the point that the use of force against Afghanistan could become a dangerous precedent for the use of force in self-defence.