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In this dissertation I discuss the phenomenon of initial consonantal mutation in modern Welsh, and explore the syntactic structure of this language: I will concentrate on the syntax of Colloquial rather than Literary Welsh. It transpires that mutation phenomena can frequently be cited as evidence for or against certain syntactic analyses. In chapter 1 I present a critical survey of previous treatments of mutation, and show that mutation in Welsh conforms to a modified version of the Trigger Constraint proposed by Lieber and by Zwicky. It is argued that adjacency of the mutation trigger is the criterial property in Welsh. Chapter 2 presents a comprehensive description of the productive environments for mutation in modern Welsh. In chapter 3 I give a short account of Government and Binding theory, the framework used for several recent analyses of Celtic languages. I also discuss proposals that have been made concerning the underlying word order of Welsh, a surface VSO language. Although I reject SVO underlying order, I conclude that there is nonetheless a VP constituent in Welsh. Chapters 4 and 5 concern the role of NPs as triggers for Soft Mutation: both overt and empty category NPs are considered. In chapter 5, which centres on wh-traces, it is shown that the variable appears in a wider variety of construction types in Welsh than had previously been suggested. A pre-head relativization site for extractions from VP and NP is posited. Chapter 6 develops the theme of the role of wh-traces in unbounded dependencies, and it is argued that all relative clauses in Welsh are formed by wh-movement. The final chapter, chapter 7, looks at the wider variety of relative clause types found in Colloquial Welsh, and presents an analysis of the patterns of mutation and pronoun retention in the light of the NP Accessibility Hierarchy.

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The thesis commences with the examination of the place of dance in British society, and focusses on its social and cultural role, while proffering explanations pertaining to its metaphysical and symbolical significance. It is evident that changes in political and religious attitude led to censure of folkloristic pastimes and celebrations of dancing, but it transpires that during the Restoration Period a resurgence of the popularity and acceptance of dance occurred in both theatrical and social contexts. The role of the dancing master is depicted in the creation of a mannered society, when aesthetically, artistically, and technically, dance was valued. The function of dance as a form of physical exercise is examined and concludes the introductory section. In establishing the role of dance in education, a study of early nineteenth century educational philosophers and practitioners is made, and the implications of Swedenborgianism on their work is investigated. European and American influences in the form of militarism, the gymnastic movement, health and dress reform are also examined. The founding of the Women's Colleges of Physical Education established dance as an aspect of physical training, a role reinforced by the Board of Education through the publication of a series of Syllabuses on Physical Training. Drills, singing games and maypole dances were taught in schools prior to the Folk Dance Revival, when morris, sword and country dances assumed a place with court and national dances, which were also performed by children. The Modern Dance Movement developed during the inter-war period and was typified by a variety of neo-classical, rhythmical dance forms that emphasised datural movement and spiritual expression. An account is included on the implementation of modern educational dance during the post-war years, and an appraisal of contemporary practice is made. The conclusion forms a summary and analytical argument relative to the changing role of dance in education.

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My purpose in this research is to examine the way in which the two sexes are presented in school textbooks. The incentive for pursuing my research was my own experience of using school textbooks and the observation of everyday reality. Until the present time research in Greece regarding the image of the two sexes has been limited to the primary school reading-scheme books. With this study I intend to give a detailed picture of the beliefs about sex roles as these are presented through the whole range of school textbooks. My ambition is that my work - in combination with other similar studies - will help instructors to comprehend and point out the traditional standard beliefs about the two sexes depicted in the textbooks which are used on a daily basis in schools in Greece. This research could sensitise instructors and simultaneously help them to be aware of and recognise the stereotype beliefs in the books they use. In this way they will be able, with the appropriate interventions and discussions, to consider their validity in relation to the children they teach. The present study is presented in 14 chapters. It is divided into two parts. The first part deals with the wide theoretical-work related to socialisation and the sex roles (Chapters 1-2). The third chapter discusses the agents of sex role socialisation (the family, peer groups, media, school). The fourth chapter studies the woman's professional role. Chapter 5 includes a brief description of the Greek educational system and an examination of a girl's place within it. The sixth deals with books as a factor in the configuration of the sex role. Chapter 7 includes a review of the related studies. The second part of the thesis includes the main body of the study, the methodology (chapter 8), the analysis of the results (chapters 9-13) and finally the conclusions and suggestions (chapter 14). Chapters 9-13 have their own separate bibliographies to facilitate reference for readers interested in one particular curriculum area.

This thesis is a contribution to the arqument that T. S. Eliot's life, poetry, and thought form a continuous, consistent, and coherent whole. Toward this end, it explores the religious dimensions of Eliot's early readings in philosophy, anthropology, Christian mysticism, and Christian theology.The first chapter discusses Eliot's acquaintance with the work of T. E. Hulme, Irving Babbitt, and Charles Maurras-- showing sources in their political and literary conservatism for Eliot's religious conservatism. The following chapter, concentrating upon the impact of J. G. Frazer's Golden Bough demonstrates the ways in which Eliot used his early anthropological readings to articulate his spiritual concerns. The next chapter explores Henri Bergson's continuing influence upon Eliot--despite the latter's occasionally dismissive attitude toward the former--emphasizing the ways in which Bergsonism catered to Eliot's predisposition towards mysticism. Similarly, chapter four emphasizes the pervasive conceptual influence of F. H. Bradley who, as the subject of Eliot's Harvard dissertation, not surprisingly appears in the language by which Eliot later articulates his religious and poetic beliefs. Chapter five discusses Eliot's readings in mysticism during his final years at Harvard. Evelyn Underhill's Mysticism proves a particularly active and enduring influence. The final chapter explores the impact upon Eliot of his early reading of various Anglican divines--including, among others Lancelot Andrewes, John Donne, and Hugh Latimer.The conclusion reached is that a large part of the pattern in the carpet of Eliot's mature poetry and thought is woven from the religious elements in his early reading. In short, Eliot's end is very much apparent in his beginning.

The trajectorv of this thesis is set out like a journey upon which encounters are staged between two films. film theor), and philosophers. such as Slavoj Zizek. Gilles Deletize, and Maurice Merleau-Ponty. An encounter with a moment of image suspension. a cut to the blank screen- in Tacita Dean's film, Disappearance atSea (1996). motivates the beginning of this journey's narrative. My reading of this moment counters the way that suspended film moments have been discussed in terms of non-narrative in 1970s film theory and in the contemporary psychoanalýlic filin theory of Slavoj Zizek. Using Gilles Deleuze's notion of narrativization as a process of serialization. I argue that the supposedly non-narrative moment is coextensive with the spectator's dis/continuity in time as opposed to Slavoj Zizek's static suspension or film theory's distanciation. A performative text based on Disappearance at Sea, which I refer to as a 'montage text' and for which precedence is found in Roland Barthes' writing, acts as an interlude that runs in tandem to the main theoretical trajectory. The generativity of absence that emerges from these encounters, both theoretical and poetic. is heightened in the second half of the thesis by the appearance of another 'montage text' based on Chantal Akerrnan's News From Home (1976). In this text. I reconfigure the negativity of historical readings of absence in Neus From Home where it was related to the impossible question of a woman's desire. In my reconfiguration, absence. rather than suspending time. generates a temporalized space and a spatialized time in which the spectator performs the dis/continuity of narrative duration. In the theoretical trajectory of this movement, Gilles Deleuze is hybridized with aspects of Merleau-Ponty's phenomenology, my argument being that the sublime infinity of Deleuzian serialization requires a relation to embodiment in order for it to be useftil in considering the spectator's relation to the two film encounters with absence. I read this hybridization in terms of a feminine mode of the sublime, which suggests the possibility of the real rather than its negation in representation and contributes to current thinking in feminist philosophy, particularly the work of Elizabeth Grosz.

Tekstiä myös venäjäksi / Cover title. Includes bibliographical references.

Thesis (Ph.D.)--Brown University, 2005. / Vita. Thesis advisor: Nancy Armstrong. Includes bibliographical references. Also available online.