In the European narration of the Orient, there is a deliberate stress on those qualities that make the East different from the West. In his Orientalism Edward Said offers perspectives for studying the Western works that depict the Orient and its people. He argues that the orientalist discourse has managed - and till now continues - to exile the Orient into an irretrievable state of "otherness”. This thesis contains an analytical and critical examination of Said's views as presented in his book. It attempts to test Said's formulations against a deliberately assorted collection of English literary works. The First Chapter sketches the general background to the theory of the orientalist discourse and to Said's views of the latter in regard to the Western documentation of the East and the Arabs. This chapter also offers an explanation for the deliberate choice of 'primary texts'. The Second Chapter introduces Lawrence Durrell's work The Alexandria Quartet and examines how far Durrell adheres to the 'rituals' of the orientalists as defined by Said. The chapter's main focus is on Durrell's depiction of Alexandria as an Arab city. Chapter Three is primarily concerned with Durrell's treatment of the 'desert'. This is compared to the introduction of the theme of the desert in the writing (The Seven Pillars of Wisdom) of T. E. Lawrence who is cited as a representative of the traditional English 'desert' writers. Chapter Four contains an appreciation to Durrell's treatment to the theme of the 'quest'. The quest of Mountolive is compared to the treatment of that theme in William Beckford's Vathek. Durrell's portrayal of the Alexandrian woman and 'Egyptian sexuality' is discussed in Chapter Five, with a retrospect to Shakespeare's Antony and Cleopatra. The Chapter examines the differences and the similarities between old and modern presentations of the Alexandrian woman. Chapter Six looks at Edna O'Brien's Arabian Days. This Chapter investigates the representation of the Arabs in the post-colonial post-oil modern time. It attempts to see if O'Brien's writing still conveys the old dogmas of the orientalist discourse. Chapter Seven deals with Jonathan Raban's representation of the Arab World in his Arabia Through The Looking Glass. Raban's expedition to Arabia comes a few years after O'Brien's, and it is worth considering how far the two experiences are similar or different. The Chapter also tries to demonstrate the weight of Raban's work when taken in the context of mainstream representation of the Arabs and their world especially in the work of Durrell. The Conclusion emphasizes the need for a fairer stand in relation to the depiction and the portrayal of one culture by another. It also poses the question of how far should portrayals be trusted or, indeed, be judged. It calls for the lifting up of the fog that clouds the visions of both sides in question.

To what degree is the viewer’s engagement with a television character triggered by the distinct narrative context of a programme? As with other types of storytelling (e.g. film, literature), engaging with a television character is an integral part of the overall experience of watching television. More specifically, television characters provide an emotional focal point for the audience. They invite us to imagine ourselves in their situation, challenge our sense of morality, and encourage us to consider how we would react if we were to encounter them in our everyday life. Whereas in the past relating to television characters has been somewhat of a private phenomenon, our relationship with television characters has become increasingly public within the last decade. The ever-growing recap culture around all types of television programmes on websites such as The AV Club, Uproxx, and IndieWire, and the lively discourse around television characters on social media (e.g. Twitter, Instagram, Facebook) underline this increased public interest in television characters. Given the current popular interest in viewer engagement with television characters, it is surprising that only a limited number of scholarly works have previously explored this subject. Furthermore, most existing studies on the viewer/character relationship in contemporary television exhibit little variation in their focus on genre and character type. More specifically, as a result of the impact of The Sopranos (1999 - 2007) and Breaking Bad (2008 – 13) on popular culture, scholarly discourse around television characters has been dominated by studies on the morally corrupt antihero protagonists of contemporary television drama. Aside from a few notable exceptions (e.g. Gorton, 2009; Blanchet and Vaage, 2012; Mittell, 2015), most existing studies on viewer engagement with television characters ignore the way in which narrative characteristics inherent to the television medium influence the viewer/character relationship. The main aim of this thesis is to establish a medium- and programme-specific, text-based theoretical model for the study of viewer engagement with television characters. Various television formats are examined, including wrestling, contemporary drama, animated series, and late-night chat programmes. Also examined are the specific modes of engagement (e.g. antipathy, parasocial engagement, long-term viewer engagement) that shape the viewer-text relationship. The methodological approach is primarily based in cognitive media theory and television studies, however, studies on viewer engagement from a wide range of disciplines (e.g. literary studies, psychology, sociology) are also considered. By examining viewer engagement in this way, this thesis challenges and builds upon existing theoretical approaches, and seeks to provide the reader with a deeper understanding of a relationship that, despite its growing importance in the everyday lives of many television viewers, has thus far only received limited scholarly attention.

Universiẗat, Diss., 2003--Konstanz.

This thesis aims to ‘apply’, as it were, some of Jacques Derrida’s conclusions regarding the age-old distinction between ideal and material to an understanding of animality and how it emerges in texts. I propose the paleonym “arche-animality” to understand the workings of animality in texts. In the field of Literary Animal Studies, some challenging questions concerning animals in texts seem to mirror Derrida’s topics in his early works. On the one hand, we can conceptualise animals as radically different from humans due to their embodiment, but, on the other hand, we can take them to be only differently embodied subjectivities, not unlike the human’s as it is thought to be housed in the body. Both positions are fraught with problems and are, in fact, entangled with the relationship between materiality and ideality. These challenging questions – especially concerning animal embodiment – must be approached with an eye towards paleonymy, the procedure by means of which Derrida was able to propose arche-writing as the origin of both vulgar writing and speech. To demonstrate the appropriateness of paleonymy, I uncover the arche-animal in different texts of different genres and varying degrees of ‘animal presence’: a ‘theoretical’ text (Sigmund Freud’s Totem and Taboo), a film (Darren Arofnosky’s Black Swan), a novel (Clarice Lispector’s The Apple in the Dark), and a poem (Ted Hughes’ ‘The Thought-Fox’).

Ce mémoire consiste en l'écriture d'un scénario original intitulé Complexe hippocampe, suivi d'une réflexion présentant et commentant les composantes et la création de cette oeuvre. Ce long métrage, d'une durée approximative de cent dix minutes, est une fiction dramatique aux thématiques universelles et existentielles. J'ai choisi de présenter d'abord le scénario, puis ensuite la réflexion sur cette oeuvre écrite, afin que le lecteur puisse recevoir, tel le spectateur, les propos de ce film avec tout ce qu'il a à offrir, par la simple richesse du récit et de ses personnages, sans l'influence de mes mots. Après avoir transporté le lecteur dans l'univers de Complexe hippocampe, je lui expose ce qui en a inspiré l'écriture et je lui présente la situation contextuelle, le sujet, les thématiques, la description des personnages, la description des milieux et des lieux, les indications temporelles, et enfin une proposition de traitement cinématographique avant de conclure sur les souhaits que je formule pour ce scénario.

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / In this paper, a new coherent correlation-loop architecture for tracking direct-sequence spread-spectrum signals is proposed. In the proposed correlation loop model, the mean-square tracking error is minimized by varying the cross-correlation function between the received signal and the locally generated signal. The locally generated signal is produced by passing a replica of the transmitted signal through a linear time-invariant filter, which is termed the VCC filter. The issue of bandwidth of a correlation loop is addressed and a bandwidth definition for comparative purposes is introduced. The filter characteristics to minimize the tracking errors are determined using numerical optimization algorithms. This work demonstrates that the amplitude response of the VCC filter is a function of the input signal-to-noise ratio (SNR). In particular, the optimum filter does not replicate a differentiator at finite signal-to-noise ratio as is sometimes assumed. The optimal filter characteristics and the knowledge of the input SNR can be combined to produce a device that has very low probability of loosing lock.

Although Jeremiah is celebrated as the biblical prophet par excellence, the book that bears his name is deemed problematic. Courting scholarly attention with promises of a greater biographical and autobiographical content than other prophetic collections, the text is unable to satisfy the hopes of the majority of its commentators. Little concerned with thematic and chronological coherence, Jeremiah repeatedly frustrates readerly expectations-likened to a veil, it obscures as much as it reveals. Thus a dominant thread within scholarship has been a negotiation of the relationship between the veil and the prophet: securing the ipsissima verba of Jeremiah, and identifying where these have been since over sewn (scholars thereby adding to the stitch work in the process). Far from representing a curtain that is to be drawn back to reveal a prophet (and landscape) beyond, however, the book of Jeremiah offers something analogous to a theoretical event-more specifically, the theatre of Bertolt Brecht. Organising the thesis into three parts or acts I begin by considering the formal complexities of Jeremiah, likening its disruptions to the disjunctive style of Brecht's epic plays. As in the theatre of Brecht, the montage of jumps and curves in Jeremiah both foreground the texuality of representing and goad the reader into evaluation and comment. In the second act I focus on three prophetic dramas. As a distinct group of narratives, prophetic dramas are seldom studied, and rarely, if ever, brought into dialogue with contemporary theories of theatre. And so, by applying the insights of theatrical semiotics to the jug-breaking of Jeremiah 19, I can elucidate something of the mechanics of this way of making meaning. I then juxtapose this and the dramas of Jeremiah 13 and 18 with examples of Brecht's Lehstücke (learning plays) to represent the dramas as continuing rehearsals performed before an audience of interpreting reader-writers.

This PhD explores the experience of female journalists working in the Saudi Arabian press. It looks at the difficulties they face as women journalists, their motives for working in this area and their writings. The research discusses how the culture gender segregation in Saudi Arabia impacts upon Saudi media representations of gender stereotypes and the role of print media (the press) in exposing women’s issues to the public and forming public opinion. I utilised a media studies’ approach adopting an Islamic feminist perspective. I generated data from indepth interviews with seven Saudi female journalists working in Saudi press, who discuss female-related topics as well as content analysis of related press articles. The analysis indicated that the Saudi culture of extreme gender segregation has impacted on the experience of female journalists, particularly on their ability to compete with male journalists. As my analysis argues, my participants report experiencing female segregation and discrimination mainly affecting their pay, job opportunities, promotion, availability and access to information. My findings further suggest that the media in Saudi Arabia is the most direct venue for women to express their views and discuss their issues. In accordance with previous studies in the field, my study reveals that Saudi Arabian women interpret feminism within the boundaries of their specific culture and Islamic standpoint. Lastly, I discuss how current political, social and economic reforms in the region, which influence women’s status in the public arena, are reflected in the Saudi press.

This thesis considers prose texts by the Austrian authors Marlene Streeruwitz and Lilian Faschinger from the viewpoint of intertextuality. The research does not rely on the narrow definitions of intertextuality which are concerned with the appearance of an anterior text in a later text, or on studies of source and influence. Rather my treatment of the novels considers the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. This study discusses the ways in which the chosen texts, through their intertexts, display a postmodern impetus towards reappropriating authorized discourse in new and challenging ways, from feminist perspectives. My intertextual readings are alert to two main threads – the critique of aspects of Austrian society evident in the novels of Streeruwitz and Faschinger and their place within the tradition of Österreich-Beschimpfung, and the interventions into issues pertaining to gender. I examine thematic similarities and differences in the texts, which draw attention to specifically Austrian or gender related issues, as well as scrutinizing formal and linguistic elements. Ultimately, my thesis poses and suggests answers to questions regarding strategies of intervention by feminist authors and the fruitfulness of intertextual readings.

International Telemetering Conference Proceedings / November 04-07, 1991 / Riviera Hotel and Convention Center, Las Vegas, Nevada / A digital device for rapid acquisition of the initial phase of PN code has been implemented. The principles and results of the experiment are introduced in this paper. The m PN code is modulated on IF with BPSK type. The cycle of PN code P=255 chips. The rate of PN code R=5.1 × 10 chips /s. The IF is not acquired. The shift in Doppler 6 frequency f is within l-4KHz. In these conditions, the phase of PN code can be acquired d within 3 ms and the error of sychronization is less than 0.5 chip.