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In the investigation of the Diary and its validity as evidence, the origin and structure of the treaty System, and the functioning of the treaties, in both their original form and subsequent modification, has been examined, with special reference to Stretch and the Gaika tribes.

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This paper investigates garments as containers of stories in Maggie O’Farrell’s The Vanishing Act of Esme Lennox (2007). Michel Foucault’s ideas about penal practice are used to study how items of clothing are used to discipline the female body and sexuality. O’Farrell’s novel is also analyzed from the perspective of trauma theory as presented by Cathy Caruth. In this context, we study how trauma is portrayed through the novel's presence and absence of garments. Further, a didactic perspective is added to our discussion of trauma theory, garments, and Foucault’s theories in the classroom. An issue to be investigated is how a safe space can be created in the classroom so that the teacher may introduce sensitive topics such as rape.   Keywords: garments, Foucault, trauma theory

Le présente mémoire fournit des nouvelles évidences montrant la modulation de l’excitabilité neuronale intrinsèque et synaptique, et la conséquence de cette modulation sur l’activité neuronale durant à la fois, les oscillations lentes du sommeil, et les crises électrographiques in vivo chez des animaux anesthésiés. Nous effectuons des enregistrements intracellulaires simultanés de neurones corticaux et des potentiels de champs locaux au niveau du gyrus suprasylvien à l’intérieur du cortex associatif pariétal (aires : 5, 7 et 21). Nous suggérons que la fluctuation de la concentration extracellulaire du calcium durant les oscillations lentes du sommeil module à la fois, l’excitabilité intrinsèque et synaptique des neurones corticaux, ainsi par conséquent, elle module affecte la relation d’input-output de ces neurones. L’apparition durant les oscillations lentes du sommeil, des crises de type Lennex-Gastaut qui sont générées corticalement, nous a permet d’étudier les propriétés spatio-temporelles des ondes paroxysmiques rapides associées avec ce type de crises. Nous suggérons que les ondes paroxysmiques rapides apparaissent comme des oscillations quasi-indépendantes même dans les localisations corticales voisines, suggérant leur origine focal. / The present memoir provides new evidences showing the modulation of intrinsic and synaptic excitability of cortical neurons, and the consequence of this modulation on neuronal activity during both slow sleep oscillations and electrographic seizures in vivo in anaesthetized animals. We performed simultaneous recordings of cortical neurons with local field potentials in suprasylvian gyrus within parietal associative cortex (area 5, 7 and 21). We suggest that the fluctuation of extacellular calcium concentration during slow sleep oscillations, modulates both intrinsic and synaptic excitability cortical neurons, thus by consequence modulates the input-output relationship of these neurons. The occurrence during slow-wave sleep of cortically generated Lennox-Gastaut type of seizures admits us to study the spatio-temporal properties of paroxysmal fast runs associated with this type of seizures. We suggest that fast runs appeared as quasi-independent oscillations even in neighbouring cortical locations suggesting their focal origin.

The cult of sensibility in the eighteenth century celebrates delicate emotional responses. Such susceptibility to emotion, however, has to rely on somatic representations such as sighs, tears, convulsion, and faints. So, paradoxically, interiority is known to others only by outer bodily signs, signs that could just as easily reflect an affectation of sensibility as sensibility proper. The attempt to control the slippage in the reference between interiority and appearance becomes an anxious cultural feature of eighteenth-century men and, especially, women, of the higher classes. If sensibility requires such careful control and practice, its assumed spontaneity becomes a fiction. The performing body of sensibility turns into a screen that veils one¡¦s true interiority rather than a transparent reflection of it. The performing body is theatricalized¡X placed on the stage as a spectacle, examined by spectators. Sensibility falls prey to insincere, artificial, and affected performances. Emotional representations are constantly facing inroads of theatricality. When emotional expressions are rendered formulaic and reproducible, they lose their naturalness. Moreover, sensibility requires witnesses, spectators who can vouch for its authenticity (but never validate it beyond all doubt). Sensibility cannot proclaim itself because such proclamation would violate sensibility¡¦s principle of sheer sincerity and spontaneity. Theatricality, as an abstracted concept of theater, points both to the formulaic performances and to the model of spectator and spectacle in the theater. Sensibility is closely related to theatricality in these terms. This thesis aims to reveal the dynamics of the interplay between theatricality and sensibility in two eighteenth-century British novels. Both novels present a young heroine making her debut in the world after spending her formative years in seclusion with a male guardian. The Introduction reviews the eighteenth-century cult of sensibility. Chapter One discusses the theoretical and contextual relations between theatricality and sensibility. Chapter Two deals with Charlotte Lennox¡¦s novel The Female Quixote (1752), and how the heroine¡¦s sensibility is ridiculed as a form of self-theatricalization. Lennox gives the clash between sensibility and ridicule a generic dimension by blaming romance for the heroine¡¦s delusions. Chapter Three examines Frances Burney¡¦s epistolary novel Evelina (1778) and argues that the heroine¡¦s sensibility is both sealed and revealed in Burney¡¦s epistolary form since it enables Evelina to switch between being both spectator and spectacle. The conclusion briefly sums up the previous chapters and points out how, more generally, interpretations of literature can benefit from a recognition of the dynamics of theatricality and sensibility.

Analyse populärer Musik dringt eher selten in Bereiche vor, die als genuin musiktheoretisch betrachtet werden können. Was als Defizit jener Analysen gelten könnte, ist jedoch, positiv betrachtet, durch die gründliche Betrachtung etwa popgeschichtlicher, soziokultureller oder technischer Aspekte zu erklären, die für musiktheoretische Ansätze kaum noch Raum lässt. Umgekehrt ist es wohl ein Defizit der Musiktheorie, dass eine Musik, die nicht primär in musikalischen Notaten vorliegt oder sich sogar genauer Notation entzieht, weiterhin stiefmütterlich behandelt wird. Hier soll nun versucht werden, einen sehr eingegrenzten Aspekt populärer Musik musiktheoretisch zu behandeln, um dann in einem weiteren Schritt sich Fragen von Gender und Persona zu nähern. Gegenstand soll Musik aus den frühen 80er Jahren sein, dargestellt am Beispiel von Ausschnitten aus den Transkriptionen der Songs »There Goes a Tenner« (Kate Bush, 1982) und »No Fear, No Hate, No Pain« (Annie Lennox/Eurythmics, 1983). Beide Sängerinnen galten zu dieser Zeit als extravagant, stimmlich vielseitig bis kapriziös, als Erscheinungen wandlungsfähig, Bush mit Hang zur theatralischen Inszenierung, Lennox als androgyn. Diese Vielgestaltigkeit der Charaktere soll hier anhand der Vokalarrangements analytisch beleuchtet werden: So erhält quasi jede Persona eine eigene Stimmfärbung, im Mix unterstützt durch Effekte und Verräumlichung. Theoretisch ergiebig ist auch die Analyse kontrapunktischer Aspekte, die einen Vergleich mit polyphoner Schreibweise für die Oper (etwa in Ensembles) herausfordern. Mehrstimmigkeit wird weniger in Gleichzeitigkeit erzeugt, als durch das Schneiden, Verzahnen und Schichten von semantisch geladenen Einzelelementen zu einem komplexen Narrativ. Abgerundet wird die Betrachtung durch analytische Aspekte des Arrangements, die sich zeittypisch in einem Spannungsfeld zwischen elektronischer Grundlage (Sequencer) und akustischer Schichtung (auch Geräusch und Weltmusikeinflüsse) bewegen. / The study of popular music rarely reaches a point that can be genuinely regarded as the result of applying analytical methods of music theory. However, what could be regarded as a deficiency of these studies can be positively explained, on the one hand: the thorough reading of pop history, socio-cultural and technical aspects hardly leave room for musical analyses. On the other hand, it is a shortcoming of music theory that it neglects music which does not exist in notated form or even eludes exact notation. Here, we will try to treat a limited aspect of popular music in terms of music theory and then approach questions of gender and persona in a further step. The subject is music of the early 1980s; excerpts from transcriptions of the songs »There Goes a Tenner« (Kate Bush, 1982) and »No Fear, No Hate, No Pain« (Annie Lennox/Eurythmics, 1983) will serve as examples. At that time, both singers were regarded as extravagant and from versatile to capricious vocally. Their appearances were many-sided: Bush showed a penchant for theatrical staging, and Lennox was seen as androgynous. This variety of the characters will be analyzed here based on the vocal arrangements: almost every persona is represented by its own vocal timbre, supported in the mix by effects and spatialization. The highlighting of contrapuntal aspects is especially productive for analysis and provokes a comparison with polyphonic writing for opera (e.g., in ensembles). Polyphony is produced less in simultaneity than by juxtaposition, interweaving, and the layering of semantically charged elements into a complex narrative. The study is rounded off by analytical aspects of the instrumental arrangements which, typical for the time, move in an area between electronic basis (sequencer) and acoustic stratification (incorporating concrete sound and influences of world music).

This study has its background in the debate about religion and the existence of God, which has been an ongoing issue throughout the Western cultural tradition. Today´s information society has been an impact on the increasing interest for this subject. The essay’s main task is to accomplish a rhetorical analysis of two books, Illusionen om Gud (2008) by atheist Richard Dawkins and Guds dödgrävare (2010) by Christian John Lennox, in order to investigate the authors’ use of rhetorical strategies to influence their audience. The texts are studied using a qualitative approach with the theoretical basis of some well-defined rhetorical variables: ethical, logical and pathetic means of persuasion, propaganda, and the important factor that a message always is presented in a certain context in which the recipients both have their own values and subjects to general truths and common frames of reference. The analysis is intended to convey the rhetorical essence of each author, and uses this image to discuss aims and methods in the communication. Both authors demonstrate varying propagandistic strategies and base their arguments from common context and widely recognized frames of reference. Lennox almost exclusively uses methodological logo arguments, while Dawkins often uses the pathetic persuasion founds.

Although the history of the Eastern Cape has been recorded from the eighteenth century, virtually nothing has been written about the political entity known as the independent Republic of Ciskei (1981 – 1994). This hiatus in our history, coupled with the fact that many of the official records of that period have been destroyed, make it imperative that the role-players of the period be contacted and their evidence be recorded before it is lost to prosperity. This need has motivated the writing of the thesis. The thesis commences with a brief description of the early history and constitutional development of Ciskei. It then has a substantial chapter on Lennox Sebe, the ruler of Ciskei from 1973 to 1990, who is described as the catalyst of Gqozo’s coup d’état. This is followed by a short personal biography of Oupa Gqozo, and his rise to the position of Brigadier in the Ciskei army. On 4 March 1990 Gqozo led the coup by the Ciskei Defence Force that dethroned Sebe. At the outset he ruled in an exemplary manner, but after being misled by South African agents he turned against the African National Congress and his own people. When he established his own party, the African Democratic Movement, and re-instated the hated headman system, civil war followed in Ciskei. Separate chapters in the thesis relate the various traumatic events that occurred during Gqozo’s reign: the killing of Anton Guzana and Charles Sebe; the dismissal of the senior officers of the CDF; the strife during 1991/2; the Bhisho Massacre; its aftermath; the mutiny by the security forces and Gqozo’s resignation on 22 March 1994. The thesis concludes that although Brigadier Gqozo respected the rule of law, and was free of corruption, he was devoid of the necessary academic qualifications, experience and ability, including the necessary insight and foresight, to rule a country. He became paranoid about his own safety and the possible overthrow of his government, and he was too easily swayed by others. In short, Gqozo was inept, rather than evil.

This study takes a structuralist approach to the development of the novel, arguing that eighteenth-century writers build progressive narrative by rendering abstract, then conflating, literary theories of gendered time that originate in the Renaissance with seventeenth-century scientific theories of motion. I argue that writers from the Renaissance through the eighteenth century generate and regulate progress-as-product in their narratives through gendered constructions of time that corresponded to the generation and regulation of economic, political, and social progress brought about by developing capitalism.