This dissertation is the first full-length study to examine William Blake's poetry and designs in light of the eighteenth-century concept of "nature's economy," a view of nature that prefigures twentieth-century ecological discourse by describing all earthly entities as integral parts of a dynamic, interactive system or whole. On the one hand, Blake celebrates the positive ethical potential of this model of existence, for "nature's economy" emphasizes the communal interdependence of all things. On the other hand, Blake is often highly suspicious of this paradigm of nature, for its logic tends reductively to consider individual entities in terms of the functions they perform within larger systemic wholes. In Blake's view, I argue, such instrumentalism raises the problem of interpretive practice. since the scientific or religious "Priesthoods" claiming special knowledge of "whole" systems may invoke holistic views of nature in ways that naturalize culturally constructed modes of political authority. By clarifying Blake's imaginative critique of the relationship between nature (as a cultural concept) and particular modes of governmental ideology. this dissertation challenges the common argument that Blake was unequivocally hostile toward material existence. Chapter One contextualizes Blake's general views of nature in light of his response to the politics of Enlightenment Deism, English industrialism, antinomian and Miltonic theories of creation, and contemporary debates on animal rights. Building on this historical context, Chapter Two examines the relationship between Blake's anthropomorphic symbolism and the instrumentalist politics of pastoralism and gender in The Book ofThe!. By shifting focus to the epic poetry and designs of Milton, Chapter Three argues that Blake's famous critique ofNewtonian science involves not a rejection of materiality per se, but Blake's antinomian opposition to a physical "legalism" that enslaYes both nature and humanity. Chapter Four synthesizes the major concerns of the preceding chapters by analyzing the relationship between the fall of humanity and the fall of nature in Jerusalem's radical Christian mythology, emphasizing the adverse social and enYironmental implications of anthropomorphism, "Patriarchal Religion," and primitiYist modes of identification with nature. / Thesis / Doctor of Philosophy (PhD)

This project examines representations of Antarctica in the theatre and analyses these in terms of space and place in order to chart the development of awareness of the continent. As examples of cultural production, plays and their treatment of imagined Antarctic space can provide insights into how attitudes towards the continent have developed and been expressed by revealing the dominant narratives at various points in time. A close reading of nine plays from 1930 – 2011 focuses on the use of mimetic and diegetic space within the theatre, examining the language used, stories told and attitudes present. Such analysis reveals the factors determining the choice of an Antarctic setting, be they ecological, political or metaphorical, whilst shedding light on how attitudes towards place, space and representation have changed within the theatre context. These plays can be grouped under four thematic headings, namely “In Scott’s Footsteps,” “Retelling,” “Reimagining,” and “Returning.” While Antarctica remains a backdrop in earlier plays, where Heroic Era narratives are foregrounded, more recent productions have seen the continent come to the fore, where it is treated as part of a global web of connections. These plays illustrate a progression in how Antarctica has been represented upon the stage, a progression that parallels how we have thought about Antarctica in general.

Introduction: Puberty is a crucial period for rapid changes in bone mineral, size, geometry, and microarchitecture. The mechanostat theory postulates that increased mechanical loading will affect bone phenotype and strength during development and in later life. Individuals with cystic fibrosis (CF) have an increased risk of developing osteoporosis and fragility fractures in young adulthood, which may be caused by poor growth. The aim was to investigate whether sex and disease status modified the relationship between: 1) puberty and bone, and 2) muscle and bone. This would contribute to the understanding of how sex (males vs. females) and disease group (CF vs.controls) alters the relationship between bone and muscle in children and adolescents as they transition through puberty and who, on a population level, differ in the prevalence of osteoporosis and risk of fracture in later life. Methods and Analyses: This observational study used novel imaging and muscle assessment techniques to measure bone and muscle parameters in White Caucasian children and adolescents, aged 8 to 16 years, living in the UK, with children with CF (n=65) and controls (n=151). Anthropometry and pubertal status were assessed. Dual energy X-ray absorptiometry, peripheral quantitative computed tomography (pQCT), high-resolution pQCT, and jumping mechanography were used to measure bone and muscle outcomes. ANCOVA with Scheffé post hoc and multiple linear regression tests were performed. Data were adjusted according to the research aims and included covariates; sex, disease group, pubertal stage, age, quadratic age, height, weight, maximum force (Fmax), and maximum power (Pmax). Data are presented as beta-coefficient (%) and p-value, with the significance level set to p < 0.05. Results: In height adjusted analyses, among healthy participants, females had smaller bones and lower bone density compared to males. With pubertal maturation, females had lower apparent gains in the distal and proximal total area (Tt.Ar and CSA), distal cortical porosity (Ct.Po) and proximal bone strength (SSI) but higher apparent gains in distal and proximal cortical bone density(Ct.BMD, Ct.TMD, vBMD). Females had consistently lower distal total area (total CSA) and density (total vBMD), distal trabecular density(BV/TV) and number(Tb.N), and proximal cortical area(CSA) compared to males, across all stages of puberty. With increasing muscle force (Fmax), females had higher apparent gains in total body less head bone mineral (TBLH BMC) and bone area(BA), distal total and trabecular density (total and trab vBMD) compared to males. In contrast, with increasing muscle power (Pmax), females had higher apparent gains in distal total and cortical densities (D100, Ct.BMD and Ct.TMD), and distal trabecular thickness (Tb.Th), and proximal cortical density (cortical vBMD) but lower apparent gains in distal cortical porosity (Ct.Po) and trabecular number (Tb.N) compared to males. In height adjusted analyses, participants with CF had smaller bones and lower bone density compared to controls. With increasing pubertal maturation, participants with CF had lower apparent gains in total body less head bone mineral and bone area, and in distal trabecular density, cortical porosity, and trabecular thickness compared to controls. Participants with CF had consistently lower distal total and cortical area, distal total and trabecular densities and proximal bone strength compared to controls, across all stages of puberty. With increasing muscle force, participants with CF had lower apparent gains in total body less head bone mineral and bone area, distal total density, trabecular density, and trabecular number. In contrast, with increasing muscle power (Pmax), participants with CF had higher apparent gains in distal trabecular density (BV/TV) and trabecular number (Tb.N) compared to controls. Conclusion: These findings suggests that sex and disease status do modify the relationships between puberty and bone, and between muscle function and bone. Skeletal adaptation to muscle differs between sexes and in populations with chronic disease, which may explain sex and disease group differences in risks of osteoporosis and fracture. Bone adaptation to muscle in children with CF is altered, which may lead to narrow, under-mineralised bones, with lower bone strength in later life. Understanding better impairments in muscle functions may provide targets for intervention to improve skeletal health in later life.

Cette thèse analyse le rôle du théâtre historique dans le processus de construction de la nation au Pérou entre la moitié du XIXe siècle et le début du XXe siècle. Elle propose l’étude des dynamiques du théâtre historique, de son développement dans la société péruvienne comme expression du développement de ce processus de construction nationale. La période étudiée est d'une complexité particulière pour le Pérou et décisive pour comprendre les difficultés de la construction de la nation et de l'identité nationale. La thèse privilégie Lima, la capitale, et souhaite démontrer que les drames historiques de cette période- représentés ou non- révélaient une image du passé – imaginaire ou non - qui exprimait les aspirations nationales ou les idéaux des classes moyennes ou des élites du pays. Il s’agissait pour la plupart de libéraux, secteur auquel appartenait la majorité des dramaturges et du public. La thèse souhaite démontrer aussi que le théâtre historique n’a pu pleinement se développer que dans les jointures d'enthousiasme nationaliste et dans un contexte d’optimisme à l’égard du présent et de l’avenir du pays que pouvaient avoir les élites péruviennes. / This doctoral dissertation explores the role that historical theatre played in the process of nation-building in Peru between the mid-nineteenth and the early twentieth centuries. Local theatre’s dynamics mirrored the development of nation-building in this country. The period under study is of particular complexity in Peruvian history, and it allows us to understand the difficulties arising between the construction of the nation and the development of a Peruvian national identity. This research focuses on Lima, Peru’s capital city. It demonstrates that the historical dramas written in this period, even when not all of them were set on stage, sometimes conveyed a realistic image of the past whereas other times that representation was fictitious. These plays expressed the middle and/or upper classes’ national aspirations and ideals. Most play writers and the audiences that attended the plays belonged to the middle and/or upper classes and considered themselves as liberals. This dissertation also argues that Peruvian historical theatre only evolved in circumstances in which the local elites were filled by nationalist enthusiasm and optimism about Peru’s contemporary present and future.

Introduktion: Magnetisk resonastomografi (MR) är en teknik som blivit alltmer vanligt inom medicinsk diagnostik. Trots att MR-tekniken är icke-invasiv undersökningmetod kan MR-undersökningen orsaka rädsla, oro och klaustrofobi hos patienter. Detta kräver extra resurser som exempelvis sedering och i vissa fall anestesi, vilket kan leda till att patienten behöver längre vårdtid och därmed ökande kostnader. Röntgensjuksköterska behöver kunskap om andra åtgärder än sedering. Syfte: Att belysa alternativa åtgärder som kan minska den vuxna patientens behov av sedering i samband med magnetkameraundersökningar. Metod: Studien som genomförts är en allmän litteraturöversikt där artiklar har hämtats från databaser. I studien ingår både kvantitativa och kvalitativa artiklar som i sin tur har kvalitetsgranskats och analyserats utifrån syftet. Resultat: Resultatet som helhet visade att det finns olika åtgärder i samband med MR tillexempel tydlig kommunikation, bra bemötande, information i form av videolänk, telefonsamtal, Virtual Reality (VR), patientutbildning, självhypnos och Magnetkamerans utformning i form av MR kort-tunnel, tunnelhåldiametrar 70-centimeter, MR öppenskanner, MR skannermiljön. Slutsats: De metoder som framkom i resultaten kan vara till stor nytta för röntgensjuksköterskor att få en större förståelse för hur det hjälper patienten som är orolig och har klaustrofobi för att få en bättre upplevelse av MRundersökningen. Det är viktigt att röntgensjuksköterskan är kompetent, respektfull, lyhörd och empatisk som kan ge en god och säker vårdmiljö.

This thesis is a study of constructions of home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon. Drawing on the work of postcolonial theorists, it examines ways in which the selected texts engage with national mythologies in the imagining of the Australian nation. It notes the deployment of racial discourses informing constructions of national identity that work to marginalise Indigenous Australians and other cultural minority groups. The texts are arranged in thematic rather than chronological order. White’s treatment of the overland journey, and his representations of Aboriginality, discussed in Chapter One, are contrasted with Carey’s revisiting of the overland journey motif in Oscar and Lucinda in Chapter Two. Whereas White’s representations of Indigenous culture in Voss are static and essentialised, as is the case in Riders in the Chariot and A Fringe of Leaves, Carey’s representation of Australia’s contact history is characterised by a cultural hybridity. In White’s texts, Indigenous culture is depicted as an anachronism in the contemporary Australian nation, while in Carey’s, the words of the coloniser are appropriated and employed to subvert the ideological colonial paradigm. Carey’s use of heteroglossia is examined further in the analysis of Illywhacker in Chapter Three. Whereas Carey treats Australian types ironically in Illywhacker’s pet emporium, the protagonist of Xavier Herbert’s Poor Fellow My Country, Jeremy Delacy, is depicted as an expert on Australian types. The intertextuality between Herbert’s novel and the work of social Darwinist anthropologists in the 1930s and 1940s is discussed in Chapter Four, providing a historical context to appreciate a shift from modernist to postmodernist narrative strategies in Carey’s fiction. James Bardon’s fictional treatment of the Papunya Tula painting movement in Revolution by Night is seen to continue to frame Indigenous culture in a modernist grammar of representation through its portrayal of the work of Papunya Tula artists in the terms of ‘the fourth dimension’. Bardon’s novel is nevertheless a fascinating postcolonial engagement with Sturt’s architectural construction of landscape in his maps and journals, a discussion of which leads to Tony Birch’s analysis of the politics of name reclamation in contemporary tourism discourses.

Lollipop, Don’t Be a Hero explores the conceptual and visual themes that are presented in my MFA thesis exhibition. This thesis recounts the development of my work during the two years of graduate study at the VCU Photography and Film Department. The research looks into historical and contemporary ideas within art, social and philosophical commentary and literature, which influence my creative process and aesthetic. This work investigates the idea of giving a voice to a specific section of the working class.

Essa dissertação de mestrado resulta de uma pesquisa teórica, na qual a pesquisadora valeu-se de suas experiências pessoais como educadora, aluna, contadora e ouvinte de estórias para pensar a narração de estórias como sendo uma prática relacionada com uma educação de sensibilidade. Trata-se de um estudo das dimensões estéticas e artísticas da literatura de tradição oral que remete à discussão da atual função da narração de estórias dentro do âmbito escolar. Parte-se do pressuposto de que as estórias de ensinamento da tradição oral são obras de arte, de tempos imemoriais, compostas por uma dinâmica de imagens arquetípicas articuladas, sob a forma de metáforas, em uma narrativa. Acredita-se que, ao entrar em contato com essa sintaxe de metáforas, o aluno-ouvinte terá a possibilidade de, por meio do despertar de uma ação imaginante e não de uma audição passiva, ter uma experiência imaginativa de natureza estética, organizadora e integralizadora, capaz de propiciar um momento de intenso aprendizado. Um aprendizado no qual aquilo que se aprende está diretamente relacionado à descoberta e à construção de nossa humanidade, que se dá por ressonância, a partir de diálogos significativos entre as imagens internas que habitam as estórias e as que habitam os ouvintes. Por imagens internas, entende-se que são as imagens arquetípicas que preservam e revelam nossa humanidade e que estão ancoradas em nossa corporeidade. Nesses diálogos, destaca-se a importância de professores e contadores de estórias como agentes de cultura, cuja presença humana intermedia e possibilita o contato de alunos e ouvintes com suas heranças culturais. Como base teórica, utilizou-se obras de filósofos, antropólogos, educadores, poetas e contadores de estórias, dentre os mais significativos: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet e Cecília Meireles, sendo tomado como elementos norteadores dessa dissertação, o trabalho e os textos de Marcos Ferreira Santos e Regina Machado. A partir de dados recolhidos, ao atuar como contadora de estórias, e de observações feitas em aulas de Língua Portuguesa, em escolas de Ensino Fundamental da rede pública, foram tecidas algumas conclusões. Dentre elas está a constatação de que, nesses ambientes educativos, ainda ocorre um aproveitamento apenas superficial de obras de cunho literário. Quanto à narração de estórias, além do aproveitamento superficial dos contos, constatou-se também uma preocupação com a instrumentalização dessa prática, que, em geral, é tida como uma mera forma de aquietamento e entretenimento dos alunos, quando esta pode servir a um papel nobre na formação do ser humano. Ademais de restabelecer vínculos com nossa ancestralidade, a narração de estórias propicia um aprendizado imaginativo, no qual nossa humanidade ganha corpo, cores, sentidos e significados ao entrar em contato com as metáforas articuladas em uma narrativa. Narrativas cujo principal objetivo é ensinar o outro, colocando-o em sua própria sina, levando-o, em termos socráticos, a tornar-se o que é. / This master dissertation results from a theoretical research where the researcher has used her personal experiences as educator, student, listener and storyteller to think the storytelling as a practice related to an education of sensibility. It studies the aesthetic and artistic dimensions of literature of oral tradition that remits to a discussion about the function of storytelling within the school environment nowadays. It is presupposed that the teaching stories from the literature of oral tradition are works of art, from immemorial times, composed by a dynamic arrangement of archetypical images, under the form of metaphors, joined together in a narrative. It is believed that when the listeners or students get in touch with this syntax made of metaphors, they will have the possibility, by the awakening of an imagining action and not by a passive reception, to have their own imaginative experience of an aesthetic nature, therefore an organizing and integrating experience able to create an intense moment of learning. A kind of learning in which the learned thing is straightly related to the discovery and the building of their humanity, and that happens by resonance, from the significant dialogues that can be engaged between the inner images that live inside the stories and the ones that live inside of each listener. The inner images are the archetypical images that preserve and reveal our humanity and that lie in our corporality. In these dialogues it is emphasized the importance of teachers and storytellers as cultural agents whose human presence intermediates and makes possible the contact of students and listeners with their own cultural heritages. As theoretical bases, works from philosophers, anthropologists, educators, poets and storytellers were used, principally: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet and Cecília Meireles, considering that the work and the texts of Marcos Ferreira Santos and Regina Machado were used as guiding elements for the elaboration of this dissertation. From the collected data, gathered by the researcher while acting as a storyteller, and from her observations made in Portuguese classes of public schools, some conclusions were drawn; we emphasize the verification that, in most of these educational places, there is still a superficial use of literary works. As for storytelling, besides the teaching stories have been underused, it was noticed that there is a tendency in transforming them into a pedagogical instrument. The storytelling is, in general, seen as a mere form of having students quiet and entertained, when, in fact, it can play a noble part in the human being educational process. This practice has the power of recreating the ties with our ancestral soul. It makes possible an imaginative learning, in which our humanity receives consistence, colors, directions and significance, as long as we get in touch with these metaphors joined together in a narrative. Narratives which their mainly objective is teaching the other, is putting the learners in their own way, and to conduct them, in socratical terms, to become what they really are.

Essa dissertação de mestrado resulta de uma pesquisa teórica, na qual a pesquisadora valeu-se de suas experiências pessoais como educadora, aluna, contadora e ouvinte de estórias para pensar a narração de estórias como sendo uma prática relacionada com uma educação de sensibilidade. Trata-se de um estudo das dimensões estéticas e artísticas da literatura de tradição oral que remete à discussão da atual função da narração de estórias dentro do âmbito escolar. Parte-se do pressuposto de que as estórias de ensinamento da tradição oral são obras de arte, de tempos imemoriais, compostas por uma dinâmica de imagens arquetípicas articuladas, sob a forma de metáforas, em uma narrativa. Acredita-se que, ao entrar em contato com essa sintaxe de metáforas, o aluno-ouvinte terá a possibilidade de, por meio do despertar de uma ação imaginante e não de uma audição passiva, ter uma experiência imaginativa de natureza estética, organizadora e integralizadora, capaz de propiciar um momento de intenso aprendizado. Um aprendizado no qual aquilo que se aprende está diretamente relacionado à descoberta e à construção de nossa humanidade, que se dá por ressonância, a partir de diálogos significativos entre as imagens internas que habitam as estórias e as que habitam os ouvintes. Por imagens internas, entende-se que são as imagens arquetípicas que preservam e revelam nossa humanidade e que estão ancoradas em nossa corporeidade. Nesses diálogos, destaca-se a importância de professores e contadores de estórias como agentes de cultura, cuja presença humana intermedia e possibilita o contato de alunos e ouvintes com suas heranças culturais. Como base teórica, utilizou-se obras de filósofos, antropólogos, educadores, poetas e contadores de estórias, dentre os mais significativos: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet e Cecília Meireles, sendo tomado como elementos norteadores dessa dissertação, o trabalho e os textos de Marcos Ferreira Santos e Regina Machado. A partir de dados recolhidos, ao atuar como contadora de estórias, e de observações feitas em aulas de Língua Portuguesa, em escolas de Ensino Fundamental da rede pública, foram tecidas algumas conclusões. Dentre elas está a constatação de que, nesses ambientes educativos, ainda ocorre um aproveitamento apenas superficial de obras de cunho literário. Quanto à narração de estórias, além do aproveitamento superficial dos contos, constatou-se também uma preocupação com a instrumentalização dessa prática, que, em geral, é tida como uma mera forma de aquietamento e entretenimento dos alunos, quando esta pode servir a um papel nobre na formação do ser humano. Ademais de restabelecer vínculos com nossa ancestralidade, a narração de estórias propicia um aprendizado imaginativo, no qual nossa humanidade ganha corpo, cores, sentidos e significados ao entrar em contato com as metáforas articuladas em uma narrativa. Narrativas cujo principal objetivo é ensinar o outro, colocando-o em sua própria sina, levando-o, em termos socráticos, a tornar-se o que é. / This master dissertation results from a theoretical research where the researcher has used her personal experiences as educator, student, listener and storyteller to think the storytelling as a practice related to an education of sensibility. It studies the aesthetic and artistic dimensions of literature of oral tradition that remits to a discussion about the function of storytelling within the school environment nowadays. It is presupposed that the teaching stories from the literature of oral tradition are works of art, from immemorial times, composed by a dynamic arrangement of archetypical images, under the form of metaphors, joined together in a narrative. It is believed that when the listeners or students get in touch with this syntax made of metaphors, they will have the possibility, by the awakening of an imagining action and not by a passive reception, to have their own imaginative experience of an aesthetic nature, therefore an organizing and integrating experience able to create an intense moment of learning. A kind of learning in which the learned thing is straightly related to the discovery and the building of their humanity, and that happens by resonance, from the significant dialogues that can be engaged between the inner images that live inside the stories and the ones that live inside of each listener. The inner images are the archetypical images that preserve and reveal our humanity and that lie in our corporality. In these dialogues it is emphasized the importance of teachers and storytellers as cultural agents whose human presence intermediates and makes possible the contact of students and listeners with their own cultural heritages. As theoretical bases, works from philosophers, anthropologists, educators, poets and storytellers were used, principally: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet and Cecília Meireles, considering that the work and the texts of Marcos Ferreira Santos and Regina Machado were used as guiding elements for the elaboration of this dissertation. From the collected data, gathered by the researcher while acting as a storyteller, and from her observations made in Portuguese classes of public schools, some conclusions were drawn; we emphasize the verification that, in most of these educational places, there is still a superficial use of literary works. As for storytelling, besides the teaching stories have been underused, it was noticed that there is a tendency in transforming them into a pedagogical instrument. The storytelling is, in general, seen as a mere form of having students quiet and entertained, when, in fact, it can play a noble part in the human being educational process. This practice has the power of recreating the ties with our ancestral soul. It makes possible an imaginative learning, in which our humanity receives consistence, colors, directions and significance, as long as we get in touch with these metaphors joined together in a narrative. Narratives which their mainly objective is teaching the other, is putting the learners in their own way, and to conduct them, in socratical terms, to become what they really are.

Text in Afrikaans / This study investigates postcolonial aspects of the prose oeuvre of André P. Brink, with specific reference to his historiographical texts `n Oomblik in die wind, Houd-den-Bek, Die eerste lewe van Adamastor, Inteendeel, Sandkastele and Donkermaan. The texts can be described as links in a textual history of South Africa: a history corresponding to the official version, revisioning it in an imaginative way. The texts also criticize political (mal)practices, and the pre-colonial, colonial and postcolonial social contexts of the country are critically scrutinized. The texts offer suggestions for a new political dispensation. Since the seventies the Brink oeuvre has developed a multi-dimensional postcolonial approach. Aspects of post-colonialism, post-structuralism, magical realism and feminism as articulated in the texts, are analyzed and interpreted. Brink's investigation of problems concerning historiography, and the relation between history and fiction, comprised an important aspect of the research leading to this report. / Afrikaans & Theory of Literature / D.Litt. et Phil