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<p>So- called “Network Based Defense” (NBD) was introduced in Sweden in connection with the transformation of the Swedish Armed Forces in 1999. NBD is based on the U.S. variant Network Centric Warfare (NCW), which in turn is derived from research on the concept of Revolution in Military Affairs (RMA). In Sweden the concept was introduced and included not only the Armed Forces but was intended to also support the Swedish civilian agencies in order to create networks and hence share the available information and thus more effective crisis management and to provide more "bang for the buck." In developing the concept of NBD the Swedish Armed Forces used both economic and human resources, in the form of research, new technologies, new organization and new methods.</p><p>Between year 2004 and 2006 the Armed Forces once again entered the process of reorganization. This time to “classic” military hierarchical organization and NBD as development engine disappeared due to economic cutbacks, together with the decision to participate in the European Union (EU) rapid reaction force. The purpose of this essay is to study the theories and ideas behind the concept and why the concept "disappeared" a few years later. The result of the work suggests that the concept of NBD in its abstract form was too theoretical. The process of organization introduced by HKV -04 is the clearest example of this abstract ambiguity concerning command and responsibility. Research suggests that responsibility is the basis of military organization and operations. The results also shows that a number of experiences from the development of the NBD has been used in the more practically oriented transformation of the Armed Forces necessary by the commitments for the so- called Nordic Battle Group (NBG-08).</p><p>The results have also shown correlation between NBD development and the increased Nordic cooperation in the form of sea and air surveillance and the well-developed body interaction within the framework of the national crisis management capacity in Sweden.</p> / <p>Nätverks Baserat Försvar (NBF) infördes i Sverige inom ramen för transformationen av Försvarsmakten från ett invasionsförsvar till ett insatsförsvar. NBF bygger på den amerikanska varianten <em>Network Centric Warfare</em> (NCW) som i sin tur härstammar från forskningen kring begreppet <em>Revolution in Military Affairs</em> (RMA). Konceptet infördes och innefattade inte bara Försvarsmakten utan även stödmyndigheter i syfte att skapa ett nätverk och därmed dela tillgänglig information och därmed effektivisera krishanteringen och ge mer ”pang för pengarna”. Kring utvecklingen av konceptet NBF lades stora resurser i form av forskning, ny teknik, ny organisation och nya metoder.</p><p>År 2004 till 2006 omorganiserades Försvarsmakten återigen från införd processorganisation enligt NBF till klassisk militär hierarkisk organisation och NBF som utvecklingsmotor försvann i och med ekonomiska neddragningar tillsammans med beslutet om att delta i Europeiska Unionens (EU:s) snabbinsatsstyrka.</p><p>Syftet med denna uppsats är att studera tankar och teorier som ledde fram till NBF och vad som kan vara en förklaring till att NBF försvann några år senare.</p><p>Resultatet av arbetet med uppsatsen tyder på att konceptet NBF i sin abstrakta form blev för teoretiskt. Den processorganisation som infördes med HKV -04 är det tydligaste exemplet på denna abstrakta oklarhet främst vad gäller befäl och därtill kopplat ansvar.  Forskning pekar på att ansvar utgör grunden i militär organisation och verksamhet.  Resultaten visar också på att de positiva lärdomarna från utvecklingen av NBF i form av vikten av ”nätverkande” låg som grund till det mer praktiskt inriktade transformeringen av Försvarsmaktens delar genom Nordic Battle Group, (NBG-08). Resultatet har också påvisat samband mellan NBF utvecklingen och det utökade nordiska samarbetet i form av sjö och luftövervakning samt den likaså utvecklade myndighetssamverkan inom ramen för den nationella krishanteringsförmågan i Sverige.</p>

So- called “Network Based Defense” (NBD) was introduced in Sweden in connection with the transformation of the Swedish Armed Forces in 1999. NBD is based on the U.S. variant Network Centric Warfare (NCW), which in turn is derived from research on the concept of Revolution in Military Affairs (RMA). In Sweden the concept was introduced and included not only the Armed Forces but was intended to also support the Swedish civilian agencies in order to create networks and hence share the available information and thus more effective crisis management and to provide more "bang for the buck." In developing the concept of NBD the Swedish Armed Forces used both economic and human resources, in the form of research, new technologies, new organization and new methods. Between year 2004 and 2006 the Armed Forces once again entered the process of reorganization. This time to “classic” military hierarchical organization and NBD as development engine disappeared due to economic cutbacks, together with the decision to participate in the European Union (EU) rapid reaction force. The purpose of this essay is to study the theories and ideas behind the concept and why the concept "disappeared" a few years later. The result of the work suggests that the concept of NBD in its abstract form was too theoretical. The process of organization introduced by HKV -04 is the clearest example of this abstract ambiguity concerning command and responsibility. Research suggests that responsibility is the basis of military organization and operations. The results also shows that a number of experiences from the development of the NBD has been used in the more practically oriented transformation of the Armed Forces necessary by the commitments for the so- called Nordic Battle Group (NBG-08). The results have also shown correlation between NBD development and the increased Nordic cooperation in the form of sea and air surveillance and the well-developed body interaction within the framework of the national crisis management capacity in Sweden. / Nätverks Baserat Försvar (NBF) infördes i Sverige inom ramen för transformationen av Försvarsmakten från ett invasionsförsvar till ett insatsförsvar. NBF bygger på den amerikanska varianten Network Centric Warfare (NCW) som i sin tur härstammar från forskningen kring begreppet Revolution in Military Affairs (RMA). Konceptet infördes och innefattade inte bara Försvarsmakten utan även stödmyndigheter i syfte att skapa ett nätverk och därmed dela tillgänglig information och därmed effektivisera krishanteringen och ge mer ”pang för pengarna”. Kring utvecklingen av konceptet NBF lades stora resurser i form av forskning, ny teknik, ny organisation och nya metoder. År 2004 till 2006 omorganiserades Försvarsmakten återigen från införd processorganisation enligt NBF till klassisk militär hierarkisk organisation och NBF som utvecklingsmotor försvann i och med ekonomiska neddragningar tillsammans med beslutet om att delta i Europeiska Unionens (EU:s) snabbinsatsstyrka. Syftet med denna uppsats är att studera tankar och teorier som ledde fram till NBF och vad som kan vara en förklaring till att NBF försvann några år senare. Resultatet av arbetet med uppsatsen tyder på att konceptet NBF i sin abstrakta form blev för teoretiskt. Den processorganisation som infördes med HKV -04 är det tydligaste exemplet på denna abstrakta oklarhet främst vad gäller befäl och därtill kopplat ansvar.  Forskning pekar på att ansvar utgör grunden i militär organisation och verksamhet.  Resultaten visar också på att de positiva lärdomarna från utvecklingen av NBF i form av vikten av ”nätverkande” låg som grund till det mer praktiskt inriktade transformeringen av Försvarsmaktens delar genom Nordic Battle Group, (NBG-08). Resultatet har också påvisat samband mellan NBF utvecklingen och det utökade nordiska samarbetet i form av sjö och luftövervakning samt den likaså utvecklade myndighetssamverkan inom ramen för den nationella krishanteringsförmågan i Sverige.

Scholarship has tended to depict John Owen as a “Reformed catholic” attempting a synthesis of Reformed principles with a largely Thomist doctrine of God. In this thesis, I argue that this depiction risks losing sight of those aspects of Owen's doctrine of God that are intended to support a distinctly Protestant account of the economy of grace. By an examination of the principles of divine government, I argue that Owen employs the theme of God's “dominion” in order to establish the freedom and gratuity of God's grace, and to resist theologies that might otherwise use the doctrine of creation to structure and norm God's government of creatures. In chapter one, I argue against prevailing readings of Owen's thought that his theology of the divine will is, in fact, “voluntarist” in nature, prioritizing God's will over his intellect in the determination of the divine decree. I show that Owen regards God's absolute dominion as an entailment of his ontological priority over creatures. Chapters two and three examine the character of God's dominion over creatures in virtue of their “two-fold dependence” upon him as both Creator and Lawgiver. Chapter four takes up Owen's theology of God's remunerative justice in the context of his covenant theology. I show here that his doctrine of divine dominion underwrites his critique of merit-theology and attempts to establish the gratuity of that supernatural end to which humans are destined. Finally, in chapter five, I examine the principles of God's mercy, expressed in the work of redemption, where I demonstrate how Owen's conception of divine dominion underwrites the freedom of God in election and his account of particular redemption.

This dissertation focuses on the return and revitalization of traditional Christian themes in contemporary postmodern novels. It offers an examination of how these themes materialize in novels written by writers who are not explicitly religious, or in novels which do not have an overtly religious focus. Some contemporary novels generate a privileged space in which the return of the religious can take place. The sacred is back, not just as a re-enchantment, but manifests itself in fundamentally new and productive ways (Ward, 2001:xv). The first matter under consideration is the fact that the co-existence of belief and unbelief is apparent in all the novels under discussion. As such, the reader as active participant in the novel is bound to be affected by these mutually inter-dependent and inextricably inter-connected sides of a coin. The themes of providence, sacrifice and the miraculous become evident in John Irving‟s A prayer for Owen Meany while the themes of sin, guilt and redemption feature in Ian McEwan‟s Atonement. Secondly, the study compares two novels that deal with the same supernatural phenomena, namely visions, faith healing and stigmata. Jodi Picoult is a non-believer and is the author of Keeping Faith, while Ron Hansen is a devout Catholic who wrote Mariëtte in ecstasy. These works, on the one hand, create a space for supernatural phenomena even though fiction cannot prove the reality of their existence. Postmodern people seem to have a definite longing for the miraculous and these novels seem to satisfy that yearning. On the other hand, both novels portray disbelief in the miraculous while subtly allowing room for characters or readers in a liminal space between belief and disbelief. The theories of Jean François Lyotard and specifically his notion of “incredulity towards metanarratives” provide a framework to explore this matter. Lyotard proposes “petit recits” or many small stories instead of the grand narratives. He contends that there is no objective knowledge and that narrative and scientific knowledge are subject to legitimization. The Christian story therefore needs no scientific basis as justification, which means that it is being newly considered after the mistrust created during the Enlightenment period. Gianteresio Vattimo‟s ideas on the role of religion in contemporary life and the possible convergences of postmodernity and the Christian faith also come into play. He advocates weak thought as opposed to strong thought and sees caritas (charity or neighbourly love) as essential. This concept of weak thought allows for plurality and tolerance. Vattimo sees Christ‟s kenosis (self-emptying) as essentially linked to a secularization in which humankind needs to retrace the path to the original Biblical message of love. Emphasis is on a non-doctrinal, anti-dogmatic spirituality and this manifests in the novels discussed. This study employs diverse reader-response theories to gauge the reaction of the reader to texts containing Biblical themes and supernatural phenomena. Stanley Fish‟s interpretive communities and Wolfgang Iser‟s implied reader are helpful and Michael Edwards‟s pattern of sin, the fall and redemption is of particular interest to this dissertation. Edwards believes that most novels, whether written by religious or non-religious writers, follow this pattern. Readers find themselves either on the side of the believing or unbelieving camp in the novels discussed. However, many readers may hover in the liminal space between belief and unbelief. Interpretation depends on many factors that constitute the world view of the reader, hence the plurality of interpretations. / MA (English), North-West University, Potchefstroom Campus, 2014

This dissertation focuses on the return and revitalization of traditional Christian themes in contemporary postmodern novels. It offers an examination of how these themes materialize in novels written by writers who are not explicitly religious, or in novels which do not have an overtly religious focus. Some contemporary novels generate a privileged space in which the return of the religious can take place. The sacred is back, not just as a re-enchantment, but manifests itself in fundamentally new and productive ways (Ward, 2001:xv). The first matter under consideration is the fact that the co-existence of belief and unbelief is apparent in all the novels under discussion. As such, the reader as active participant in the novel is bound to be affected by these mutually inter-dependent and inextricably inter-connected sides of a coin. The themes of providence, sacrifice and the miraculous become evident in John Irving‟s A prayer for Owen Meany while the themes of sin, guilt and redemption feature in Ian McEwan‟s Atonement. Secondly, the study compares two novels that deal with the same supernatural phenomena, namely visions, faith healing and stigmata. Jodi Picoult is a non-believer and is the author of Keeping Faith, while Ron Hansen is a devout Catholic who wrote Mariëtte in ecstasy. These works, on the one hand, create a space for supernatural phenomena even though fiction cannot prove the reality of their existence. Postmodern people seem to have a definite longing for the miraculous and these novels seem to satisfy that yearning. On the other hand, both novels portray disbelief in the miraculous while subtly allowing room for characters or readers in a liminal space between belief and disbelief. The theories of Jean François Lyotard and specifically his notion of “incredulity towards metanarratives” provide a framework to explore this matter. Lyotard proposes “petit recits” or many small stories instead of the grand narratives. He contends that there is no objective knowledge and that narrative and scientific knowledge are subject to legitimization. The Christian story therefore needs no scientific basis as justification, which means that it is being newly considered after the mistrust created during the Enlightenment period. Gianteresio Vattimo‟s ideas on the role of religion in contemporary life and the possible convergences of postmodernity and the Christian faith also come into play. He advocates weak thought as opposed to strong thought and sees caritas (charity or neighbourly love) as essential. This concept of weak thought allows for plurality and tolerance. Vattimo sees Christ‟s kenosis (self-emptying) as essentially linked to a secularization in which humankind needs to retrace the path to the original Biblical message of love. Emphasis is on a non-doctrinal, anti-dogmatic spirituality and this manifests in the novels discussed. This study employs diverse reader-response theories to gauge the reaction of the reader to texts containing Biblical themes and supernatural phenomena. Stanley Fish‟s interpretive communities and Wolfgang Iser‟s implied reader are helpful and Michael Edwards‟s pattern of sin, the fall and redemption is of particular interest to this dissertation. Edwards believes that most novels, whether written by religious or non-religious writers, follow this pattern. Readers find themselves either on the side of the believing or unbelieving camp in the novels discussed. However, many readers may hover in the liminal space between belief and unbelief. Interpretation depends on many factors that constitute the world view of the reader, hence the plurality of interpretations. / MA (English), North-West University, Potchefstroom Campus, 2014

New Zealand expatriate artists working in England, Europe and North Africa in the early twentieth century painted a wide variety of market scenes. The subject features in the oeuvre of Frances Hodgkins, Maud Sherwood, Sydney Lough Thompson, Maude Burge, Owen Merton, Robert Procter and John Weeks and made a significant contribution to their artistic development. Like their contemporaries in the artists’ colonies and sketching grounds of England and Europe, New Zealand artists were often drawn to traditional rural and fishing villages and sought to capture the nostalgia of the ‘old world.’ Early exploratory works by New Zealand expatriates have often been dismissed merely as nostalgic visions of colonials, without any real artistic merit. This research offers a re-evaluation of these works, recognising their value as transitional works which illustrate New Zealand expatriate artists experimenting with early modernist trends, as well as revealing prevalent contemporary tastes among the New Zealand public. This study offers a comprehensive examination of the market theme and highlights the aspirations and achievements of New Zealand expatriate artists. This is reflected in both their choice of subjects and in the way in which these were depicted. A key finding of this research is that New Zealand expatriate artists developed a distinctive response towards the market subject. The vibrant atmosphere and activity of the market and colourful views of canvas booths, awnings and costume provided the perfect means of expression for these artists to explore a variety of painterly concerns and techniques, among them plein-air and impressionist painting, watercolour techniques and a modern treatment of colour and light. The hypothesis of a ‘female gaze’ is explored with specific reference to depiction of the market subjects by Frances Hodgkins and Maud Sherwood. Placed within a wider art historical context of images of female market vendors, their market works offer an original interpretation of the female milieu of the European market. Finally, the expatriates’ vision of the exotic and colourful markets in North Africa and Egypt is investigated. They offered an alternative response to more traditional Orientalist interpretations and their Maghrebian explorations were the catalyst for key stylistic developments in colour and form.

Cette thèse porte sur une étude comparative entre le roman L'Attrape-Coeurs (1951) de J. D. Salinger et le film Rushmore de Wes Anderson. (1998). Les deux récits dialoguent avec la tradition du genre romanesque connu sous le nom Bildungsroman (roman de formation ou roman d'apprentissage). En dépit du fait que les romans d'apprentissage ont continué d’être écrits, la forme a subi de nombreux changements pendant et après la période historique appelée modernisme. Parmi les principaux caractéristiques il y a les faits racontés dans un court laps de temps et la surligne sur le narrateur en première personne. Nous appelons ce genre de narration « fiction de la formation » parce qu’elle peut s'adresser au récit de cinéma et au récit écrit, selon le concept de "fiction" traité par Robert Stam. Nous avons découvert le terme «ère audiovisuelle » après avoir lu un article écrit en 1966 par le critique littéraire et historien austro-brésilien Otto Maria Carpeaux (1900-1978). Carpeaux avait supposé que la peinture (spécialement l’abstraite) dépasserait la littérature de l'importance dans la vie culturelle. Le plus important c’est qu’il a réalisé que les nouveaux médias audiovisuels (cinéma et télévision) sont vennus a être considérés et étudiés (ou rejetées) par les universitaires et les critiques. Ce phénomène avait déjà été décrit par Umberto Eco en Italie. Dans l’Ére Audiovisuelle et Après Modernisme c’est impossible d'écrire le développement d'un personnage de la manière habituelle, car les effets de la vie urbaine et la perception de la nouvelle imagerie ont été ressentis par l'écrivain et par le public. Le but de cette étude était d'évaluer la persistance du thème de la maturité dans la fiction de nos jours. Les résultats ont indiqué Salinger comme un diviseur dans ce genre de littérature et Wes Anderson et Owen Wilson des scénaristes importants d'un genre nouveau, "le cinéma de la formation". / Esta tese é um estudo comparativo sobre O apanhador no campo de centeio (1951), de J. D. Salinger, e o filme Rushmore (1998), de Wes Anderson. Ambas as narrativas dialogam com a tradição do gênero de romance conhecido como Bildungsroman (romance de formação ou romance de aprendizagem). Ainda que romances de aprendizagem continuassem a serem escritos, a forma sofreu muitas mudanças através do e após o período histórico chamado Modernismo. Entre as principais características estão os fatos narrados em um curto espaço de tempo e o destaque sobre o narrador em primeira pessoa. Chamamos esse tipo de narração de "ficção de formação" por que pode abordar tanto o filme como a literatura, de acordo com o conceito de "ficção" como tratado por Robert Stam. O termo "era audiovisual" foi cunhado depois de lermos um artigo escrito em 1966 pelo historiador e crítico literário austro-brasileiro Otto Maria Carpeaux (1900-1978). Carpeaux defende que a pintura (especialmente a abstrata) ultrapassaria a literatura em importância na vida cultural. O mais importante é que ele percebeu que os novos meios audiovisuais (cinema e televisão) passaram a ser considerados e estudados (ou rejeitados) por professores universitários e críticos. Esse fenômeno já havia sido descrito por Umberto Eco, na Itália. Na Era Audiovisual e Após Modernismo é impossível escrever o desenvolvimento de um personagem da forma habitual, porque os efeitos da vida urbana e da percepção do novo imaginário foram sentidos tanto pelo escritor como pelo público. O objetivo deste estudo foi avaliar a permanência do tema do amadurecimento na ficção dos dias atuais. As conclusões indicam Salinger como um divisor de águas nesse tipo de literatura e Wes Anderson e Owen Wilson como importantes realizadores de um gênero cinematográfico, o "cinema de formação". / This thesis is a comparative study on J. D. Salinger’s The Catcher in the Rye (1951) and Wes Anderson’s movie Rushmore (1998). Both narratives dialogue with the tradition of the novel genre known as Bildungsroman (novel of formation or novel of apprenticeship). In spite of the fact that novels of apprenticeship kept on being written, the form suffered many changes through and after the historical period called Modernism. Among the main features are the narrated facts in a short amount of time and the highlight on the first person narrator. We call that kind of narration “fiction of formation” for the reason it may approach both movie narrative and written narrative, according to the concept of “fiction” as treated by Robert Stam. We coined the term “audiovisual era” after reading an article written in 1966 by the Austro-Brazilian historian and literary critic Otto Maria Carpeaux (1900-1978). Carpeaux supposed that painting (specially the abstract one) would surpass literature in importance in cultural life. The most important thing is that he realized that the new audiovisual media (cinema and television) came to be considered and studied (or rejected) by the academics and the critics. That phenomenon had already been described by Umberto Eco in Italy. In an Audiovisual and After Modernism era is impossible to write the developing of a character in the usual way because the effects of the urban life and the perception of the new imagery were felt by both, writer and public. The purpose of this study was to evaluate the continuance of the theme of coming of age in fiction in the current days. The results indicated Salinger as a watershed in that kind of literature and Owen Wilson as an important screen writer of a new movie genre, the “cinema of formation”.