Six rivers within the upper Mumbidgee catchment were sampled for larval and juvenile fish. The rivers represented both regulated and unregulated flow regimes and varied widely in size. There was wide variation in the larval fish communities supported by each river, both in terms of the species diversity and total abundance of fish sampled. The highly regulated reach of the Mumbidgee River sampled during this study had the highest numbers of native species and native individuals of any river sampled. In the two rivers selected for further study, the Murmmbidgee and Goodradigbee, there was a high level of inter-annual consistency in the species composition within the reaches sampled, despite considerable change in the temperature and flow regimes of both rivers. This indicates that at least some spawning of those species sampled may occur each year, regardless of environmental conditions. Estimates of the relative abundance of each species sampled changed markedly between years, and it is argued, on the basis of growth information contained in the otoliths, that differential survival of larvae and juveniles was largely responsible for this shift in relative abundance. Otolith microstructure provided information on the date of spawning and early growth patterns of all species sampled in the upper Mumumbidgee catchment. In addition to determining the age and thus 'birth-date' of an individual, the effect of a particular event or series of events has on growth, and subsequent survival, is permanently recorded in the otolith microstructure. This enables accurate back-calculation and correlation to management actions or natural events. No other research tool has this ability to retrospectively assess, on a daily basis, the impacts of management actions on condition and subsequent survival of fish larvae. Species sampled could be separated into three groups based on spawning requirements; those linked with flow, those linked with temperature and generalist species that appear to have river independent cues, such as photoperiod or moon phase. Patterns in growth rate during the early life history stages enabled quantification of the consequences of variation in environmental conditions on the survival and recruitment of various species. Growth was not always highly correlated with water temperature, in fact, for mountain galaxias, high temperatures appear to negatively affect larval condition and subsequent survival. Conversely, carp exhibited a strategy more consistent with common perceptions, with growth and survival increasing with increasing temperature. The study uncovered spawning and growth patterns that were unexpected. Age analysis of western carp gudgeon demonstrated that they had undertaken a mid-winter spawning, when the water temperature in the main channel was far lower than that at which spawning was previously recorded for this species. Redfin perch from the unregulated Goodradigbee River exhibited growth rates exceeding the published upper limits for this and other closely related species. This growth could not be correlated with either temperature or flow, indicating that there are additional factors that dominate growth rates of redfin perch in the Goodradigbee River. The proportion and abundance of native species alone is not necessarily indicative of a 'healthy' or pristine system; some native species may be positively affected by river regulation, at least as juveniles. Comparison of the current larval fish community with likely pre-European fish communities does provide an indication of change to the system. The results of this study suggest that larval fish growth rates can be strongly influenced by environmental conditions, thus providing a powerful tool for monitoring future change and the factors which cause it. This study has demonstrated the value of larval and juvenile fish age and growth information, derived from otolith microstructure techniques, for many aspects of river management. Current river management priorities for which these techniques provide unique information include the determination of environmental flow regimes and the control of undesirable exotic species such as carp.

Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.

Uma incursão pelo romance Avalovara, de Osman Lins, abre possibilidades para a descoberta de um universo acústico repleto de simbolismos, permeando as cenas da narrativa. O presente trabalho fundamenta-se nas pesquisas do compositor e educador canadense Raymond Murray Schafer sobre a paisagem sonora mundial. Propõe-se a investigar a relação entre a obra literária Avalovara e a linguagem sonora a partir das expressões acústicas do romance, identificando os possíveis significados de tais conexões. Fez-se necessária a transposição para o mundo ficcional de Avalovara da metodologia de análise e classificação dos sons utilizada por Schafer, tendo sido elaborada uma tabela de categorização contendo os cenários mais significativos com as sonoridades identificadas em cada um deles. Uma passagem pelos caminhos da ecocrítica e da ecologia sonora possibilitam, com base na visão de Schafer sobre ruído associada a diversas expressões de sons estridentes presentes na narrativa, vislumbrar uma proximidade do pensamento de Osman Lins com o ideário da ecologia acústica. Sons naturais, música, ruídos e silêncio se mesclam em uma sinfonia de oposições sonoras em que o ir e o vir dá vida e ritmo à narrativa, estabelecendo uma ligação da linguagem literária com a linguagem musical. Inter-relacionam-se, também, a estrutura do romance e a organização formal de peças musicais relevantes, tais como, a cantata Catulli Carmina, de Carl Orff, e os fragmentos da introdução da Sonata em fá menor (K462) para cravo, de Scarlatti. Quatro músicas de caráter contrastante, aqui denominadas de eixos musicais, revelam o percurso dos protagonistas em suas buscas, seus anseios e suas frustrações. O pássaro Avalovara com seus cantos, gritos e movimentos em espiral, traz à tona um mundo de mistérios que permite fazer associações e interpretar os diversos simbolismos relacionados à ave guia. As palavras no corpo da remetem a um processo de iniciação para o conhecimento, quando o pássaro mítico a introduz no mundo dos sons. Alguns aspectos da filosofia tântrica são aqui abordados em razão da profunda similaridade dos processos de ascensão espiritual com a trajetória de Abel e a , em sua obstinada busca pelo conhecimento absoluto a partir do domínio dos mistérios das palavras que perpassam o corpo da mulher tríplice. O silêncio no romance é analisado sob várias perspectivas, relacionando-o com a filosofia tântrica e com as concepções de Schafer e de John Cage. O romance foi considerado como uma única paisagem sonora e seus fragmentos cênicos denominados, neste trabalho, de cenários sonoros. / A foray into romance Avalovara, Osman Lins, opens up possibilities for the discovery of an acoustic universe full of symbolism permeating the scenes of the narrative. This paper is based on the researches of the Canadian composer and educator Raymond Murray Schafer about the global soundscape. It propose to investigate the relationship between the literary work Avalovara and a sound language from the novel acustic expressions, identifying the possible meanings of such connections. Was necessary a transposition to the fictional world of Avalovara of the analysis methodology and classification of sounds used by Schafer, having been developed a categorization table containing the most significant scenarios with the sounds identified in each of them. A passage along the paths of ecocriticism and sound ecology allow, based on Schafer's view of noise associated with various expressions of strident sounds present in the narrative, to glimpse a proximity of the thought of Osman Lins with the ideas of acoustic ecology. Natural sounds, music, noise and silence blend themselves in a symphony of sound oppositions where the going and coming give life and rhythm to the narrative, connecting the literary language with the musical language. Interrelate also the structure of the novel and the formal organization of relevant musical pieces such as the Catulli Carmina cantata, of Carl Orff, and the fragments of the introduction of the Sonata in F minor (K462) for harpsichord, of Scarlatti. Four musics of contrasting character, here called of musical axis, shows the route of the protagonists in their searches, their anxieties and their frustrations. The Avalovara bird with their chants, shouts and spiral movements brings up a world of mysteries that allows associations and interpret the various symbolisms related to bird guide. The words in the body of refer to a process of initiation into the knowledge, when the mythical bird introduces her in the world of sounds. Some aspects of tantric philosophy are addressed here because of the profound similarity of spiritual ascension process with the trajectory of Abel and , in his dogged pursuit of absolute knowledge from the control of the mysteries of words that permeate the body of the triple woman. The silence in the novel is analyzed from various perspectives, relating it with the tantrik philosophy and the thought of Schafer and John Cage. The novel was regarded as a unique soundscape and its scenic fragments called, in this work, of sound scenarios.

This research focuses on the controversy surrounding the exhibition and media publication of Brett Murray’s painting, The Spear of the Nation (May 2012). It takes the form of a qualitative Critical Discourse Analysis (CDA), underpinned by Fairclough’s (1995) three-dimensional approach, to investigate how the contesting discourses articulated by the ruling political party (the ANC) and the news media have been negotiated in the City Press coverage in response to the painting. While the contestation was fought ostensibly on constitutional grounds, it arguably serves as an illustrative moment of the deeply ideological debate occurring in South Africa between the government and the national media industry regarding media diversity, transformation and democracy. It points to the lines of fracture in the broader political and social space. Informed by Foucault’s conceptualisation of discourse and the role of power in the production of knowledge and ‘truth’, this study aims to expose the discourses articulated and contested in order to make inferences about the various ‘truths’ the ANC and the media make of the democratic role of the press in a contemporary South Africa. The sample consists of five reports intended to represent the media’s responses and four articles that prominently articulate the ANC’s responses. The analysis, which draws on strategies from within critical linguists and media studies, is confined to these nine purposively sampled from the City Press online newspaper texts published between 13 May 2012 and 13 June 2012. Findings suggest the ANC legitimise expectations for the media to engage in a collaborative role in order to serve the ‘national interest’. Conversely, the media advocate for a monitorial press to justify serving the ‘public interest’. This research is envisioned to be valuable for both sets of stakeholders in developing richer understandings relevant to issues of any regulation to be debated. It forms part of a larger project on Media Policy and Democracy which seeks to contribute to media diversity and transformation, and to develop the quality of democracy in South Africa.

Uma incursão pelo romance Avalovara, de Osman Lins, abre possibilidades para a descoberta de um universo acústico repleto de simbolismos, permeando as cenas da narrativa. O presente trabalho fundamenta-se nas pesquisas do compositor e educador canadense Raymond Murray Schafer sobre a paisagem sonora mundial. Propõe-se a investigar a relação entre a obra literária Avalovara e a linguagem sonora a partir das expressões acústicas do romance, identificando os possíveis significados de tais conexões. Fez-se necessária a transposição para o mundo ficcional de Avalovara da metodologia de análise e classificação dos sons utilizada por Schafer, tendo sido elaborada uma tabela de categorização contendo os cenários mais significativos com as sonoridades identificadas em cada um deles. Uma passagem pelos caminhos da ecocrítica e da ecologia sonora possibilitam, com base na visão de Schafer sobre ruído associada a diversas expressões de sons estridentes presentes na narrativa, vislumbrar uma proximidade do pensamento de Osman Lins com o ideário da ecologia acústica. Sons naturais, música, ruídos e silêncio se mesclam em uma sinfonia de oposições sonoras em que o ir e o vir dá vida e ritmo à narrativa, estabelecendo uma ligação da linguagem literária com a linguagem musical. Inter-relacionam-se, também, a estrutura do romance e a organização formal de peças musicais relevantes, tais como, a cantata Catulli Carmina, de Carl Orff, e os fragmentos da introdução da Sonata em fá menor (K462) para cravo, de Scarlatti. Quatro músicas de caráter contrastante, aqui denominadas de eixos musicais, revelam o percurso dos protagonistas em suas buscas, seus anseios e suas frustrações. O pássaro Avalovara com seus cantos, gritos e movimentos em espiral, traz à tona um mundo de mistérios que permite fazer associações e interpretar os diversos simbolismos relacionados à ave guia. As palavras no corpo da remetem a um processo de iniciação para o conhecimento, quando o pássaro mítico a introduz no mundo dos sons. Alguns aspectos da filosofia tântrica são aqui abordados em razão da profunda similaridade dos processos de ascensão espiritual com a trajetória de Abel e a , em sua obstinada busca pelo conhecimento absoluto a partir do domínio dos mistérios das palavras que perpassam o corpo da mulher tríplice. O silêncio no romance é analisado sob várias perspectivas, relacionando-o com a filosofia tântrica e com as concepções de Schafer e de John Cage. O romance foi considerado como uma única paisagem sonora e seus fragmentos cênicos denominados, neste trabalho, de cenários sonoros. / A foray into romance Avalovara, Osman Lins, opens up possibilities for the discovery of an acoustic universe full of symbolism permeating the scenes of the narrative. This paper is based on the researches of the Canadian composer and educator Raymond Murray Schafer about the global soundscape. It propose to investigate the relationship between the literary work Avalovara and a sound language from the novel acustic expressions, identifying the possible meanings of such connections. Was necessary a transposition to the fictional world of Avalovara of the analysis methodology and classification of sounds used by Schafer, having been developed a categorization table containing the most significant scenarios with the sounds identified in each of them. A passage along the paths of ecocriticism and sound ecology allow, based on Schafer's view of noise associated with various expressions of strident sounds present in the narrative, to glimpse a proximity of the thought of Osman Lins with the ideas of acoustic ecology. Natural sounds, music, noise and silence blend themselves in a symphony of sound oppositions where the going and coming give life and rhythm to the narrative, connecting the literary language with the musical language. Interrelate also the structure of the novel and the formal organization of relevant musical pieces such as the Catulli Carmina cantata, of Carl Orff, and the fragments of the introduction of the Sonata in F minor (K462) for harpsichord, of Scarlatti. Four musics of contrasting character, here called of musical axis, shows the route of the protagonists in their searches, their anxieties and their frustrations. The Avalovara bird with their chants, shouts and spiral movements brings up a world of mysteries that allows associations and interpret the various symbolisms related to bird guide. The words in the body of refer to a process of initiation into the knowledge, when the mythical bird introduces her in the world of sounds. Some aspects of tantric philosophy are addressed here because of the profound similarity of spiritual ascension process with the trajectory of Abel and , in his dogged pursuit of absolute knowledge from the control of the mysteries of words that permeate the body of the triple woman. The silence in the novel is analyzed from various perspectives, relating it with the tantrik philosophy and the thought of Schafer and John Cage. The novel was regarded as a unique soundscape and its scenic fragments called, in this work, of sound scenarios.

The thesis seeks to show Andrew Murray's growing understanding of what it meant to be the elect of God in contrast to other prevailing notions. In his confrontation with the Trekker communities, the majority of whom were rigid Calvinists, stressing a divine election based on the notions of biological and cultural identity, Murray found little of the holy behaviour which ought to characterize the people of God. The elect should be seen to be the elect by their fruits. Instead there was divisiveness, discrimination, party spirit and other forms of ungodliness. Faced with the immensity of the task in identifying the true Church and building God's people up in holiness, Murray began to sense the necessity of another 'dimension' within the Church's regular means of grace of preaching, the sacraments, and discipline. The revival of 1860, focussed Murray's attention in a new and vital way on the work of the Holy Spirit in breathing new life into the Church and in empowering believers to live lives pleasing to God. The 'indiscriminate' effects of the Holy Spirit's work convinced Murray that the Gospel and thus the Church was not the possession of the white colonist, Dutch or English, but that the black and brown man had an equal claim on the Gospel and as much right to become a member of Christ's Church. Murray's understanding of the Christian life as continual abiding in Christ by the power of the indwelling Holy Spirit meant that the believer came to have the mind of Christ and to partake of His holiness. This holiness evidenced itself in the believer having Christ's concern for the lost. Mission, therefore, became this supreme end of the Church. The struggle with the forces of liberalism raised the new issue that unbelievers could no longer be simply 'heathen blacks' or English but most of all Dutch. The support of the civil courts of those disciplined by the Church brought the whole problem of ecclesiology to the fore and led Murray to the conclusion of the necessary separation of the Church from the State. Murray's discovery that in various ages, nations and Church traditions there were those with the same passionate desire for God' s holiness, led him into an increasing awareness of the catholicity of the Church. True holiness demanded the love and unity of all God's children. Murray's ecclesiology was a biblically-based one at a time when communities were beginning to be formed by other than biblical notions and principles and by a people who were trying to pack more into the notion of a people of God than Scripture gave warrant for. The emphasis for which Murray stood made for an ecclesiology that simply could not be confined.

Ce mémoire propose une défense de la pertinence de l’éco-anarchisme. Cette défense se fera à travers une analyse critique des arguments adressés à l’éco-anarchisme, ainsi que ses deux branches principales : le biorégionalisme et l’écologie sociale. Pour mener à bien ce projet, il sera nécessaire d’offrir un portrait détaillé des théories dont j’analyserai également les critiques. Ce mémoire commence par une présentation de l’éco-anarchisme, du biorégionalisme et de l’écologie sociale. Puis, il passe en revue les différentes critiques qui ont été émises sur ces théories. Cette analyse critique sert de base à la présentation d’un ensemble de recommandations, qui auront comme objectifs de pallier les failles mises en lumière par certaines critiques. Ces recommandations tourneront autour de trois objectifs principaux : soulever l’importance de confédérer les communautés ; soulever l’importance de créer des ponts entre l’éco-anarchisme et l’éco-féminisme et l’éthique du Care ; abandonner la branche du biorégionalisme. / This master thesis offers a defense of the relevance of eco-anarchism. This defense will be done through a critical analysis of the arguments made against eco-anarchism, as well as its two main strands: bioregionalism and social ecology. To carry out this project, it will be necessary to offer a detailed portrait of the theories from which we will analyse the critics. Therefore, the beginning of this thesis will be a presentation of eco-anarchism, bioregionalism and social ecology. Then, it will be necessary to establish a review of the various criticisms that have been made of these theories. Ultimately, this critical analysis will serve as the basis for the presentation of a myriad of recommendations, which will have the objective of remedying the flaws highlighted by certain criticisms. These recommendations will revolve around three main ones: highlight the importance of confederating communities; highlight the importance of building bridges between eco-anarchism and eco-feminism and the ethics of care; abandon the strand of bioregionalism.

This study examines the major works of Judith Sargent Murray, Hannah Webster Foster, and Susanna Haswell Rowson, three major writers of the 1790s whose writing responds to the ideologies of the early American Republic. I suggest that Murray, Foster, and Rowson write conduct fiction which responds to the changing attitudes toward women and education after the American Revolution. Using fiction, these authors comment on the republican woman, the need for women’s education, and the necessity for women to gather in communities for support. Despite the prevailing notion that reading too many novels would corrupt young women, Judith Sargent Murray’s novella, The Story of Margaretta (1786), Hannah Webster Foster’s novels, The Coquette (1797) and The Boarding School (1798), and Susanna Rowson’s novels, Charlotte Temple (1794) and Reuben and Rachel; or, Tales of Old Times (1798), were some of the most popular books in the late eighteenth century. If these novels were not meant to be read by young women, who were the authors’ primary audience, why were they so popular? This project situates these questions in the political environment the authors were writing in to show that a relationship exists between what women were reading and how authors of conduct fiction helped facilitate the changing roles of women in the early Republic

This study examines Istanbul from the late 19th to early 20th century, focusing on its architectural and urban configuration. As the capital of the Ottoman Empire until 1923, Istanbul underwent significant changes that reflected the broader socioeconomic and political shifts of the era. This research primarily utilizes Mir'ât-ı İstanbul (The Mirror of Istanbul) by Kolağası Mehmed Râif Efendi, published in 1898, as a key text for analyzing the city's urban layout and architectural features. Supplementary sources include the 18th century Hadîkatü’l-Cevâmi‘ by Hüseyin Ayvansarâyî and John Murray's guidebook, Handbook for Travellers in Constantinople. The Mir’ât-ı İstanbul is positioned within the travel writing genre as an urban history source, both in global and local contexts. Mehmed Râif defines the work as a guide for those familiar and unfamiliar with Istanbul, presenting the city’s spatial information through systematic and practical details rather than a narrative structure. In this regard, Mir’ât differs from classical travelogues by offering direct and functional information about the city instead of personal experiences or stories. Moreover, the study investigates the reasons behind the creation of Mir'ât, emphasizing the urgency of preserving architectural heritage in the face of frequent natural disasters like fires and earthquakes, which were prevalent in Istanbul during that period. This preservationist impulse is seen as a response to the broader legal and administrative reforms aimed at safeguarding antiquities and historical structures. The study's methodology involves a comparative textual analysis to discern how different authors perceived and documented Istanbul's urban landscape. It integrates digital and spatial humanities tools, notably Geographic Information Systems (GIS) and Space Syntax analysis, to spatially reconstruct and analyze the city's historical urban fabric. GIS enable the precise digital visualization of historical landscapes, while Space Syntax offers valuable analysis of historical urban networks, revealing patterns of connectivity and accessibility through the configuration of street layouts. The application of digital methodologies, such as Voronoi mapping, also holds potential for understanding the influence zones of neighborhoods and mosques. Through these methods, the research offers a model for future research that combines close and distant reading methodologies.:TABLE OF CONTENTS INTRODUCTION 1.1 Purpose and scope of the study 1.2 Methodology 1.3 Biography of Kolağası Mehmed Râif Efendi 1.4 The Source and the Literature Review 1.4.1 Urban Space and Travel Writing: A Theoretical Framework 1.4.2 Locating Mir’ât-ı İstanbul in the Global Context as a Guidebook and a Source of Urban History MİR’ÂT-I İSTANBUL 2.1 Urban Glimpse into Istanbul during the period of Mir'ât-ı İstanbul 2.2 Earthquakes and Fires: Does Mir’ât-ı İstanbul Serve as an Effort to Preserve Istanbul’s Legacy Through Documentation? 2.3 Traveling Istanbul through the lines of Mir’ât: A Close Reading 2.4 Spatial and Thematic Mapping of the Mir’ât-ı İstanbul 2.4.1 WATER STRUCTURES 2.4.1.1 Fountains, Sebils, Baths, Bends, Pools, Aqueducts, Water Gauges, Mills, Wells, Water pumps, Water columns, Water tanks and Ayazmas 2.4.2 RELIGIOUS STRUCTURES 2.4.2.1 Mosques 2.4.2.2 Masjids and Namazgahs 2.4.2.3 Dervish Lodges, Tombs, Dargahs, Zawiyahs, Mevlevi Houses, Hankahs, and Semahanes 2.4.2.4 Churches, Synagogues and Monasteries 2.4.3 OFFICIAL STRUCTURES 2.4.3.1 Police Stations (Karakolhane) 2.4.3.2 Muwaqqitkhanas, Post Offices, Telegraph Offices, Banks, Courthouses, Embassies, Hospitals, Offices and Railway Stations 2.4.4 PRIVATE STRUCTURES 2.4.4.1 Coastal Palaces, Mansions, Palaces, and Pavilions 2.4.5 EDUCATIONAL STRUCTURES 2.4.5.1 Maktabs 2.4.5.2 Madrasas and Darülkurrâs 2.4.5.3 Engineering Schools (Mühendishane) 2.4.5.4 Foreign and Non-Muslim Schools 2.4.6 PUBLIC STRUCTURES AND AREAS 2.4.6.1 Bazaars and Flea Market 2.4.6.2 Garden, Nüzhetgah and Promenades, and Hills 2.4.6.3 Carpentry Shops, Forges, Foundries, Kalhanes, Tanneries, Factories, Copper Mines and Mints 2.4.6.4 Bridges, Dalyans, Gates, Lighthouses, Towers, Wharves, and Ports 2.4.6.5 Casino, Hotels, Imarets, Khans, Libraries, Matbahs, Taamhanes, Printing Houses, and Bakeries 2.4.6.6 Towers, Clock Towers, Columns, Inscriptions, Nişantaşı, Stones, and Kız Kulesi (Maiden's Tower) 2.4.7 MILITARY STRUCTURES 2.4.7.1 Castles, Fortresses, Armories, Barracks, Bastions, Maneges, Tanks and Warehouses 2.4.8 MAHALLE (NEIGHBOURHOODS) AND PLACE NAMES 2.4.9 Conclusion ISTANBUL IN BETWEEN CONTINENTS AND CENTURIES 3.1 A Spatial Comparison of the Mir’ât-ı İstanbul, Hadîkatü’l-Cevâmi‘ and Handbook for Travellers 3.2 A Handbook for Travellers by John Murray Publishing 3.3 Spatial and Thematic Comparison of the Handbook for Travellers and Mir’ât-ı İstanbul 3.3.1 WATER STRUCTURES 3.3.1.1 Fountains, Sebils, Baths, Bends, Aqueducts, Mills, and Ayazmas 3.3.2 RELIGIOUS STRUCTURES 3.3.2.1 Mosques 3.3.2.2 Masjids 3.3.2.3 Dervish Lodges, Dargahs, and Mevlevi Houses 3.3.2.4 Tombs 3.3.2.5 Churches 3.3.3 OFFICIAL STRUCTURES 3.3.3.1 Police Stations 3.3.3.2 Post Offices, Telegraph Offices, Banks, Courthouses, Embassies, Hospitals, Offices, Forwarding Agents, and Railway Stations 3.3.4 EDUCATIONAL STRUCTURES 3.3.4.1 Colleges, Schools, Universities, Institutes, Madrasas, and Maktabs 3.3.5 PUBLIC STRUCTURES 3.3.5.1 Clubs, Shops, Restaurants, Hatters, Tailors, Opticians, Photographers, Gunsmiths, Watchmakers, Shoemakers and Confectioners 3.3.5.2 Bazaars and Flea Market 3.3.5.3 Squares, Gardens, and Forests 3.3.5.4 Coal Merchants, Kaik Khânehs, Mills, Shipyards, and Factories 3.3.5.5 Bridges, Gates, Lighthouses, Wharves, and Ports 3.3.5.6 Hotels, Imarets, Khans, Libraries, Printing Houses 3.3.5.7 Towers, Clock Towers, Columns, Stones 3.3.6 MILITARY STRUCTURES 3.3.6.1 Castles, Fortresses, Barracks, Bastions ISTANBUL'S URBAN PATTERN IN THE LATE 19th AND EARLY 20th CENTURY: A COMPUTATIONAL APPROACH 4.1 The urban pattern and the thematic distribution of architectural structures in the Mir’ât-ı İstanbul: A Distant Reading 4.2 Neighboring Structures: Spatial Relationship Between Masjids and Surrounding Buildings 4.3 Urban Sphere of Influence of Masjids and Neighborhoods through Voronoi Diagram 4.4 The Spatial Distribution of Fountains in Istanbul by Sponsors 4.5 Istanbul's Historical Street Networks: Space Syntax Analysis 4.5.1. Global and Local Axial Integration Analysis of Historical Istanbul 4.5.1.1 Global and Local Integration of Galata Region 4.5.1.2 Global and Local Integration of Suriçi and Eyüp Regions 4.5.1.3 Global and Local Integration of Üsküdar Region 4. 5. 2 Global Axial Integration Analysis of Historical Istanbul as A Wholistic Perspective CONCLUSION REMARKS AND RESEARCH PERSPECTIVES

The commandment to honour one's father and mother is not limited to honouring parents while they are living. In Zulu culture, for both the traditionalist and Christian Zulu, honouring parents, whether alive or dead, is to relate to them with great respect. Unfortunately, this respect for the ancestors has been misunderstood by many and labeled as "worship" or, more recently, as "veneration". Affixing a religious connotation ("worship", etc.) to the relationship led to the expectation that Zulu Christians would reject their ancestors and all the rites and practices associated with them. In spite of injunctions from the Church, a marked shift is occurring among Zulu Christians as many reincorporate their ancestors into their family process. This dissertation, an exploratory study, addresses this process of reincorporation by offering a new, non-religious interpretation of the relationship. Historically, the Zulu have sought and welcomed the presence of the ancestors during stressful family transitions such as marriage, birth, puberty and death. If the Church focused on the increased anxiety and destabilization associated with these family transitions, new insights could be gained into the functional importance of the ancestors (as anxiety binders) in the family process. The application of Bowen theory, a new paradigm for practical theology, to the research data provides new perspectives and understanding into the functional importance of the ancestors for Zulu families. Central to Bowen theory is the concept of the family as an emotional unit that includes all generations, including the ancestors. This concept correlates closely with the Zulu understanding of kinship. The concepts of multigenerational transmission process and triangulation in Bowen theory offer effective theoretical bases for interpreting the ongoing relationship Zulu families have with their ancestors. This dissertation critiques certain Church practices and offers a practical theological response that can inform and enrich the Church's pastoral care. By developing a practical theology of relationships'one informed by Bowen theory, Scripture and the traditions of the Church'the Church can assist Zulu Christians pastorally as they reincorporate their ancestors into their family process. / Practical Theology / D. Th. (Practical Theology)