This thesis explores the relationship between differing interpretation of the California Dream and the narrative strategies through while [sic] they are expressed in three California labor novels during three different decades of California literature.

Följande studie undersöker hur Expressen och Aftonbladet har gestaltat bröderna Robin Dahlén och Christian Karlsson mellan årtalen 1998–2022. Bröderna anklagades för mordet på fyraårige Kevin 1998 och har haft stämpeln barnamördare fram till 2018 när de friades från anklagelserna. Syftet är att undersöka hur bröderna har gestaltats som anklagade barnamördare som barn jämfört med oskyldiga som vuxna vid nyhetsrapportering. Samt om media har brustit i sitt ansvar och kränkt den personliga integriteten i rapporteringen. Det undersöks också hur Robin Dahlén har upplevt och påverkats av rapporteringen som barn samt vuxen. Undersökningen har utgångspunkt i en kvalitativ språklig textanalys av artiklar från Expressen och Aftonbladet under årtalen 1998, 2017, 2018 och 2022. För att få en djupare förståelse för analysen utfördes också en kvalitativ intervju med Robin Dahlén. Undersökningen grundar sig i tidigare forskning som berör offentlig granskning av barn, ungdomsbrottslighet och felaktigt dömda. Samt teoretiska ramverken medielogiken och mediernas ansvarighet. Resultatet av undersökningen bekräftar att både Expressen och Aftonbladet gestaltat bröderna på ett negativt sätt när bröderna anklagades för mordet. Tidningarna har skrivit om brödernas personliga integritet genom att nämna dem vid ålder, kön, nationalitet och hemort. På senare år när bröderna har avskrivits från fallet och visats vara felaktigt dömda har media en mer beskrivande bild av hur samhället svikit bröderna genom att kritisera bland annat poliser och politiker som har påverkat bröderna till det negativa. Resultatet av intervjun bekräftar att Robin Dahlén anser att nyhetsrapporteringen inte alltid bemötts positivt av allmänheten. Men han har upplevt medias rapportering av honom som mer hjälpsam än ohjälpsam.

For the most recent and correct article, please click here: http://ascelibrary.org/doi/abs/10.1061/9780784412787.086 This study examines the use of performance-based approaches in liquefaction hazard analysis. Two new methods of performance-based liquefaction initiation analysis are proposed which use the works of Juang et al. (2012) and Boulanger and Idriss (2012). Further advances are made by incorporating the performance-based magnitude scaling factors as proposed by Cetin et al. (2012). Using these new equations a comparative study is made between the three methods. Further comparisons are made between the performance-based approaches and the more widely used deterministic approaches. The comparisons reveal that on average for the 11 sites used in this study, the performance-based approaches tend to be slightly less conservative than deterministic approaches overall, with large differences possible for some locations in the country. They also reveal that the newer performance-based approaches are generally less conservative than the approach proposed by Kramer and Mayfield (2007). Some cases where this relationship does not hold true and the new relationships are more conservative are outlined.

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If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.

This thesis examines the desire and efforts to 'do something' about what is variously called 'modern slavery' or 'human trafficking'. Neoabolitionist efforts to fight such phenomena are typically wedded to a simplistic and essentialist ontology, unaware of or rejecting their own performativity. The thesis is not about slavery: it is about the ethico-political problem of responsibility and hospitality toward the other in the context of contemporary anti-slavery. What constitutes an ethical response to modern slavery? I explore the often violent effects of particular answers to this question but ultimately argue that the focus on doing something (and knowing it) threatens the very possibility of hospitality - of an ethical response. Through a conceptual vocabulary of 'scenes' I explore the performative interrelation of ontology and ethics. It is intended to help resist the metaphysical seductions of ontology and moral urgency. Scenes bundle specific ontologies, frames, conjured histories and futures, roles and narrative structures, distributions of concern, desire and enjoyment. Response begins with the discursive and affective co-constitution of the self, the one to whom we respond, and the scene in which it takes place. Scene-specific forms of responsibility can operate as a defence against the full force of responsibility to the other. Chapters 1 and 2 develop the notion of scenes and explore how neoabolitionism sets its scenes and locates favoured solutions. The remaining chapters explore those solution areas. Chapter 3 looks at how a US movement against 'sex trafficking' in internet advertising reproduces a Manichean world of simplicity by a game of Whac-A-Mole with websites, ritualistic repetition of baseless 'facts', silencing of sex workers, and aggressive demonization of those who disagree or argue for greater complexity; Chapters 4 and 5 draw on time I spent in San Francisco with two very different organisations. One, Not For Sale, makes a product of experiencing neoabolitionism, joining together charity, capitalism, consumer enjoyment, technology and the excitement of a movement of 'true believers', producing innovative approaches but in the process reinforcing problematic gendered and colonial stereotypes. The other, Anti-trafficking Collaborative of the Bay Area, works quietly and tactically in a messy immigration system, aware of the political and performative nature of their work. They actively take responsibility for their own preconceptions and desires to ground a profoundly hospitable client-centred approach avoiding many pitfalls identified in earlier chapters. The thesis has a performative element woven through it - the ethos of the work is one of unsettling both existing practices and literatures, and the writer and reader. The concluding chapter explores the impossibility of hospitality, its interrelation with juridical subjectivity and the ethics demanding and giving accounts in light of the preceding chapters, suggesting a performative approach toward the other is possible.

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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.