Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis (M.A.)--University of South Africa, 2001.

This paper examines the tension between states' rights and rights of the individual in the jurisprudence of Justice Sandra Day O'Connor. Through analysis of O'Connor's personal biography and a series of opinions written over her tenure on the Supreme Court, I find that O'Connor reached an incremental balance between the sometimes conflicting goals of protecting the rights of the states and individuals, resulting in a unique rights-based approach to federalism. / Constitutionalism, federalism, and expressive democracy -- Justic O'Connor and federalism -- The state and the individual -- Analysis. / Department of Political Science

This thesis looks at the Confrontation Clause from the Sixth Amendment in light of the decision made in Maryland v. Craig. It examines the opinions of Justices Sandra Day O'Connor and Antonin Scalia, and determines if their judicial philosophies were consistent with their opinion. It does so by examining the history of the Confrontation Clause from ancient history to the present, and by enumerating the judicial philosophies of O'Connor and Scalia. In conclusion, while O'Connor's majority opinion is consistent with her pragmatic philosophy, Scalia's dissent is not consistent with his originalist views.

Southern literature, from the first half of the twentieth century, deals primarily with the transition from an agrarian to an industrial society. The conflict in the Southern novel is a result of the protagonist's inability to transition from the structure of the Old to the New South. The Southern protagonist is often quite unconscious of his inability to adapt to the modern world because he suffers from a "diffusion of time perspective." As the protagonist struggles to find a harmonic balance between traditional and modern, he is ultimately unable to avoid a tragic fate. The "violence" that must take place in Southern literature is often a final resort of the character when all other alternatives have failed. He is inevitably drawn by fate (or by the hand of God) towards the crossroads where a choice must be made between the agrarian or industrial, between archaic morality or modern atheism, a collision that must be radically violent to be justified. This violent collision reaches its pinnacle of expression in violence involving the automobile.

This study explores how the context of an event can be reconstructed in order to change an event's meaning and how the recontextualization can influence perceptions of a community. The artifact examined is a documentary film produced by Appalshop, Stranger with a Camera directed by Elizabeth Barret.Chapter One includes an introduction to Stranger with a Camera, and work by scholars related to the study of documentary film. The research focus guiding the analysis is an examination of how Barret reconstructs the context of a murder in Jeremiah, Kentucky in order to alter the event's significance and meaning, and how her reconstruction may influence dominant social perceptions of a community.Chapter Two describes the method to be used in the analysis, cluster analysis developed by Kenneth Burke. The process of cluster analysis entails: 1) identifying the key terms in the rhetoric, 2) charting the terms that cluster around the key terms, 3) discovering emergent patterns in the clusters, and 4) naming the motive, or situation, based on the meanings of the key terms.Chapter Three is a cluster analysis of Stranger with a Camera. Key terms found in this analysis are "picture," "camera," "shooting," "media," "poverty," and "social action."Chapter Four contains conclusions pertaining to the analysis of the rhetorical artifact, conclusions for cluster analysis as a rhetorical methodology, and future considerations for academic scholarship. / Department of Communication Studies

Thesis (M. Div.)--Emmanuel School of Religion, 2006. / Vita. Includes bibliographical references (leaf 41).

Honors Project--Smith College, Northampton, Mass., 2010. / Includes bibliographical references (p. 77-79).

The American South is a rich source of literature that combines the humorous and the horrific in its attempts to explain and expose the region's deep-seated social turmoil. One of the most prolific genres to come out of the South is southern gothic literature that, though not always humorous is known for its use of grotesque imagery and reliance on highly charged melodramatic narratives. When these works are comic, they don't merely reflect the region's strife but attempt to transform it. This dissertation looks at how southern gothic writers Beth Henley, Fannie Flagg and Flannery O'Connor use dark comedy in their works as defiant acts designed to question the status quo and reform the southern landscape by creating ruptures where marginalized people can assert themselves into the norms of American culture. Drawing on several different definitions of comedy, including Barecca's works on female narratives and linguistic theories of jokes, this work defines dark comedy and identifies where humor and horror come together in the works of these southern gothic writers to form particularly dark comic moments. Then, it uses Butler's theory of sites of rupture to explain how dark comedy can be transformative. In Giving an Account of Oneself, Butler explains Foucault's regime of truth as a system that is always both self-reflexive and social - a system where the norms that govern recognition create boundaries where subjects are formed. She goes on to conclude that ruptures can occur within the "horizon of normativity" whereby those relegated to the margins can gain entry and be encompassed within the governing norms. Dark comedy, then, occurs at or even creates that site of rupture in the individual and in the society that experiences it, and allows for the individual, and by extension society, to change its understanding of what is normal and resides within the margins. Within the text, then, dark comedy changes the governing norms to include the once marginalized oddities.