This study examines the theology and social ethics of John Howard Yoder with a view toward how creation and redemption are related in his theology. The first chapter examines Yoder's aversion to certain construals of creation and argues that he is not inherently hostile to creation as such, but is cautious with respect to the possible abuse of creation as a theological and ethical category. The second chapter evaluates the nature of the state in Yoder's theology, examines his view of the Powers in this context, and argues that his view of redemption can be seen as a restoration of an eschatologically open creation. The third chapter compares Yoder's theology and social ethics with those of J. Richard Middleton, arguing that there may be a potential for interconnection between Yoder's Anabaptistic focus on the politics of Jesus and Middleton's Reformational emphasis upon the goodness of the power of creation seen in the imago Dei of Genesis I.

This thesis examines representations of lawyers and law in examples of Jacobean city comedy, taking into account certain contemporary developments in the legal profession and the law in England. The period covered is 1598-1616. The thesis questions the conventional interpretation of city comedy as hostile to the legal profession. It suggests the topic is more complex than has been assumed, arguing that city comedy makes direct and indirect positive representation of Inns of Court lawyers, who are to be distinguished from attorneys (newly segregated in the Inns of Chancery), amateur quasi-lawyers, and university-educated civil lawyers. It is proposed that city comedy represents Inns of Court lawyers positively in two ways. Firstly, by means of legal content: representations of developments in the profession and the law demonstrate a wish to connect with the young lawyers and students of the Inns of Court, and reflect a contemporary drive by them for increased organization and regulation. Secondly, by means of literary form: ostensibly pejorative representations need not be taken at face value; instead, they may be found to be ironic. The main proposed contributions to knowledge are: that Inns of Court lawyers were a favoured part of the target audience of the private playhouses, making it questionable that they would be represented negatively in city comedy; that lawyers as represented in city comedy are not a single or a simple category; that representation of lawyers is inflected by the various forms and impulses of city comedy; and that city comedy incorporates some reflection of the increasing professionalization of legal practice in the period.

The project investigates mathematics, informatics, statistical analysis and their histories, the history of human engagement with machines, and illustrates some uses of artificial intelligence and robotic technologies as media. It is concerned with, amongst other issues, the sentient and not sentient binaries offered in discourses on machine intelligence. The term intelligence is used to distinguish between human and not human. However, a non-human, the intelligent machine, has become incorporated into the processes by which our culture defines intelligence. Those processes were explored in phases of the project that focused upon various kinds of interactions between people and machines, particularly the ways in which those interactions are mediated by knowledge. The discourses that underpin the field of mechanical intelligence spring from the same sources as the rhetoric that delineates human beings from all other things. We make intelligent machines because we have something to prove regarding our own intelligence. The devices expose attributes considered in our culture to be intelligent. The size and technical sophistication of modern robots result from the expenditure of considerable funds across several disciplines. Such machines signify wealth, power and excess, despite any other significance their makers intend.

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Fading Points is a piece of music for large wind ensemble. The work is concerned with time perception and is designed to convey to the listener a long temporal progression from slow music to fast music. To this end, the work is written using musical gestures specifically designed for their portrayal of musical time. The work consists of four sections, each of which is described in detail in the analytical part of the thesis. The analysis also describes the rhythmic language, which is created around short rhythmic cells. These cells are based on ratios and are used in all levels of the piece from the surface rhythm to the large formal divisions. The harmonic language is also described. The vertical harmony is derived from a dense chord presented at the beginning of the piece. The horizontal pitch material is created from small pitch cells, also taken from the opening chord. These cells are used in isolation but are also combined to create modes, which are the focus of the latter parts of the piece.

Diss. Uppsala : Univ., 2003.

No description available.

Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-228). Also available for download via the World Wide Web; free to University of Oregon users.

This thesis is an investigation of the representation of the figure of the man who raped on the early modern stage. The early modern “man who raped” must be distinguished from the modern term “rapist” insofar as the modern term ascribes an ontological or sociological position to the individual male that was alien to the early modern world view. The shifting value of “rape” in the early modern period presaged more modern conceptions of rape as “an experience imposed on an embodied subject, a violent sexual assault that in its corporal nature destabilizes the intersubjective personhood of the victim” (Cahill 207). As such, the shifting values of the term also prefigured more modern conceptions of masculinity and the successful performance of masculine values. The figure of the man who raped on the early modern English stage often was not merely the monster against which successful forms of masculine behaviour could be contrasted – often such characters found a sympathetic audience. And often, that audience was encouraged and directed through paratextual and dramaturgical devices to see themselves in and identify with the man who raped, for he could be redeemed. This thesis uses the lens of the Roman play to investigate sexual assault because Roman plays clarified masculine ideals for the early moderns; Rome, civilization, manliness, stoic self-control and virtus on the early modern stage were all coincident terms that articulated sexual difference and therefore the construction of the male subject (Kahn 15). The first section looks extensively at the English inheritance of Roman and Anglo-Saxon laws on sexual assault, while the subsequent chapters turn to early modern drama more closely. The plays under study are Marston’s Wonder of Women, Heywood’s Rape of Lucrece, Shakespeare’s Titus Andronicus, Middleton’s Hengist, King of Kent, and Fletcher’s Bonduca. / SSHRC, School of English and Theatre Studies, College of Arts

This thesis reconstructs the genre of urban satirical pamphleteering. It contends that the pamphlets of Robert Greene, Thomas Nashe, Thomas Dekker, Thomas Middleton, and Barnaby Rich are stylistically and generically akin. Writing in a relatively undefined form, these pamphleteers share an interest in describing contemporary London, and employ an experimental style characterised by its satirical energy. In addition, they negotiate a series of tensions between profitability and play. In the early modern period, ‘profit' was variously conceived as financial, moral, or rooted in public service. Pamphleteers attempted to reconcile these senses of profitability. At the same time, they produced playful works that are self-consciously mocking, that incorporate alternative perspectives, and that are generically hybrid. To varying degrees, urban satirical pamphlets can be defined in relation to the concepts of profitability and play. Chapter One introduces the concept of moral profitability through an examination of Elizabethan moralistic pamphlets. In particular, it analyses the anxious response to profitability contained in Philip Stubbes's Anatomie of Abuses (1583). Chapter Two argues that Greene disrupted appeals to totalising profitability, and instead demonstrated the alternative potential of play. Chapter Three examines Nashe's notoriously evasive pamphlets, contending that he embraced play in response to the potential profitlessness of pamphleteering. Chapter Four argues that although Dekker and Middleton rejected absolutist notions of profitability, their pamphlets redirect stylistic play towards compassionate social commentary. Finally, Chapter Five explores Rich's relocation of moralistic conventions in pamphlets that are presented as both honest and mocking. Taken as a whole, this thesis re-evaluates the style and genre of urban satirical pamphleteering. It reveals that this frequently overlooked literary form was deeply invested in defining and critiquing the purpose of literature.