Thesis (Ph. D.)--Illinois State University, 2000. / Title from title page screen, viewed May 4, 2006. Dissertation Committee: John Shields (chair), Lucia Getsi, Nancy Tolson. Includes bibliographical references (leaves 179-190) and abstract. Also available in print.

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This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.

This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.

Detractors of sentimental literature argue that such novels are unoriginal and concerned primarily with emotions. Feminist scholars redeem the reputation of sentimental literature to an extent. At present, a multitude of approaches present sentimental authors as active agents, engaging with public issues. Building upon the scholarship of prominent feminist historians and literary critics, this thesis provides direct evidence that three female authors embrace the responsibilities of being a social critic. The Wide, Wide World (1850) by Susan Warner, Uncle Tom’s Cabin (1851) by Harriet Beecher Stowe, and The Hidden Hand (1859) by Emma D.E.N. Southworth provide unique commentaries on the separation of the private and public spheres, market revolution, and religion. Decisive differences between the authors’ opinions reveal a high degree of engagement with the public issues.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-20T19:43:46Z No. of bitstreams: 2 Dissertação - Ligia da Cunha Moreira - 2014.pdf: 1675032 bytes, checksum: abbce36de279a092b9f81566a296fbc8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-03-20T19:45:14Z (GMT) No. of bitstreams: 2 Dissertação - Ligia da Cunha Moreira - 2014.pdf: 1675032 bytes, checksum: abbce36de279a092b9f81566a296fbc8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-20T19:45:14Z (GMT). No. of bitstreams: 2 Dissertação - Ligia da Cunha Moreira - 2014.pdf: 1675032 bytes, checksum: abbce36de279a092b9f81566a296fbc8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Genetic selection of animals with potential for improved carcass and meat quality is a strategy that should be employed in Brazilian livestock. The country occupies a prominent position in global agribusiness, possessing the largest commercial cattle herd in the world and being one of the largest exporters of beef. However, Brazilian beef is classified as medium to low quality. The aim of the present study was to evaluate quantitative and qualitative characteristics of the carcass and beef in Polled Nellore belonging to a segregating population selected for meat tenderness. There were 68 male animals, with age average six months and initial weights 215.5 kg. The animals were slaughtered when they reached a minimum weight of 500 kg and 5 millimeters of fat backfat, forming groups of 17 or 18 animals of each slaughter. The slaughter occurred in a commercial slaughterhouse under Federal Inspection (SIF 431). The experimental design was a randomized block design with two treatment types (low and high WBSF). Data were subjected to an analysis of variance using the GLM procedure in SAS. The treatment means were compared by the Duncan test at 5% significance. Sensory analyses were submitted to the NPAR1WAY procedure, and means were compared by the non-parametric Kruskal- Wallis test. There weren’t significant differences for the carcasses characteristics evaluated. The shear force was high for animals with high WBSF analyzed in both methods (1.55 kgf and 2.48 kgf texturometer Warner Bratzler). The high group WBSF had a value of 5.99 for pH, higher than the low group WBSF, which showed a pH of 6.36. The animals of the low WBSF group had lower cooking losses, 18.1% and higher water retention capacity of 77.01%. It is suggested that these differences may have been due to the high pH value observed for animals in this group. Color parameters were better for animals with high WBSF. In the sensory panel, the animals with low WBSF were better for both, tenderness (8.38 vs. 5.01) and juiciness (6.12 vs. 5.26), compared to the high WBSF group. The two groups did not differ in carcass characteristics, but animals with low WBSF produced superior beef according to objective and taste panel evaluations. Genetic selection for meat tenderness didn’t influence carcass characteristics, but was effective / A seleção genética de animais com potencial para produção de carcaça e carne de melhor qualidade é uma estratégia que deve ser mais adotada pela pecuária brasileira. O país ocupa posição de destaque no agronegócio mundial, detentor do maior rebanho bovino comercial do mundo, e um dos maiores exportadores de carne bovina, no entanto, a carne brasileira é tida como de média a baixa qualidade. Objetivou-se avaliar as características quantitativas e qualitativas da carcaça e da carne de bovinos Nelore Mocho, pertencentes a uma população segregante selecionada para maciez da carne. Foram utilizados 68 animais machos inteiros sendo 27 deles pertencentes ao grupo de baixo WBSF (força de cisalhamento <3,5 kgf) e 41 pertencentes ao grupo de alto WBSF (força de cisalhamento >3,5 kgf). A idade e peso inicial dos animais foram, em média de seis meses e 215,5 kg, respectivamente. Os animais foram abatidos quando atingiram peso mínimo de 500 kg e cinco milímetros de espessura de gordura, formando grupos com 17 ou 18 animais por abate. O abate ocorreu em frigorifico comercial sob Inspeção Federal (SIF 431). O delineamento experimental foi em blocos casualizados com dois tratamentos (baixo e alto WBSF). Os dados foram submetidos à análise de variância utilizando o procedimento GLM, disponibilizados no programa estatístico SAS. As médias dos tratamentos foram comparadas pelo teste de Duncan a 5% de significância. As análises sensoriais foram submetidas ao procedimento NPAR1WAY, e as médias foram comparadas pelo teste não paramétrico de Kruskal-Wallis. Não houve diferença significativa para as características de carcaça avaliadas. A força de cisalhamento foi menor para os animais de baixo WBSF nos dois métodos analisados (1,55 kgf no texturômetro e 2,48 kgf no Warner Bratzler). O grupo de alto WBSF apresentou valor médio de 5,99 para pH, sendo superior ao grupo baixo WBSF, que apresentou pH de 6,36 em média. A carne dos animais de baixo WBSF apresentam menores perdas por cocção (18,1%) e maior capacidade de retenção de água (77,01%), sugere-se que essas diferenças possam ter sido devido ao alto valor de pH observado para os bovinos deste grupo. Os parâmetros de cor foram superiores para os animais de alto WBSF. No painel sensorial, a carne dos animais de baixo WBSF foram superiores, tanto para a característica de maciez (8,38 vs. 5,01) como para suculência (6,12 vs. 5,26), em relação ao grupo alto WBSF. Os dois grupos não diferiram em relação às características de carcaça, mas a carne dos animais de baixo WBSF apresentaram superioridade para as características de qualidade medidas objetivamente pelo painel sensorial. Dessa forma, pode-se afirmar que a seleção genética para maciez da carne não influenciou nas características de carcaça, mas foi eficiente na melhoria das características de qualidade da carne proveniente de bovinos da raça Nelore.

Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.

Trots att Jesus är en av världens mest kända personer finns det ingen som vet hur han egentligen såg ut. Det finns inga bevarade bilder eller ögonvittnesbeskrivningar av hans yttre som kan dateras till den tid då personer som hade sett Jesus med egna ögon kan ha levt. Avsaknaden av samtida beskrivningar har möjligen bidragit till en större frihet för alla de konstnärer som avbildat honom. Många gånger verkar det som att konstnärer genom konsten framställer Jesus i sin egen avbild, eller i sin egen kulturs avbild. Förvånansvärt sällan avbildas han med tydliga judiska förtecken såsom kippa eller bönesjal. Själv har jag under lång tid undrat över detta, då vi alla vet att den historiske personen Jesus var judisk. Det var bland annat ur denna undran som idén till denna uppsats utvecklades. Jag ville veta mer om hur Jesus har avbildats i västerländsk tradition, varför han avbildades så och vilken funktion det kan ha fyllt. Därför valde jag att undersöka två av de mest spridda och inflytelserika framställningarna av Jesus från modern tid och västerländsk kultur - Light of the World av William Holman Hunt och Head of Christ av Warner Sallman.       Uppsatsens frågeställningar är: Vilka likheter och skillnader kan man se i Jesu fysiska skepnad i de båda konstnärernas avbildningar? Vad kan detta bero på eller vilka formativa faktorer påverkade deras Jesusbilder? Vad förmedlar deras konst socialt, kulturellt och religiöst?       Exempel på likheter är att båda tavlorna fick motta mycket kritik från sin tids kulturelit men blev mycket omtyckta av allmänheten. Båda tavlorna kritiserades för att visa en Jesus med “bristande maskulinitet”. Båda bilderna visar Jesus påklädd, vitklädd, vuxen, stark och frisk. Han avbildas oskadd, utan kors eller skador orsakade av korsfästelsen. Båda tavlorna visar Jesus med skägg och långt hår, Hunts Jesus har rödbrunt hår och Sallmans Jesus har mörkblont hår. Uppsatsen diskuterar de faktorer som likheterna och skillnaderna kan bero på och hur man kan tolka dessa.      En tydlig skillnad mellan de båda tavlorna är att Hunts framställning innehåller betydligt mer symbolik än Sallmans framställning. Eventuella orsaker till detta, exempelvis skillnader i de kristna traditioner konstnärerna kom ifrån samt vad konstnärerna vill säga om Jesu identitet,  diskuteras i uppsatsen. Somliga tolkar  bilderna som exempel på hur Jesus europeiserats i västerländsk konst. Hunts Jesus kan, exempelvis på grund av symboler som Aarons bröstplåt, ses som en framställning där konstnären velat inkorporera Jesu judiskhet i bilden och samtidigt visa honom som profet och präst.

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<p>Mot bakgrund av att asexualitet på senare år formulerats som en möjlig sexuell identitet, orientering eller preferens är syftet med uppsatsen att teoretisera den asexuella positionen – här definierat som ”frånvaro av lust till sexuell praktik”. Detta görs genom en nära läsning av fyra texter som varit centrala inom feministisk och queer teoribildning, med intentionen att undersöka hur asexualitet positioneras i relation till dessa teorier. De teoretiska utgångspunkterna hämtas från feministiska och konstruktivistiska teorier om kön, sexualitet, makt och subjektstatus, främst Michel Foucault (1976)och Judith Butler (1990). Mina läsningar visar att i Gayle Rubins sexuella värdehierarki (1984) tilldelas positioner utifrån sexuellt aktörskap, och det är således sexuella subjekt som kan emanciperas. I Adrienne Rich’s text om obligatorisk heterosexualitet (1980) tillskrivs även den icke-sexuella kvinnan aktörskapet att undkomma tvångsheterosexualisering - Rich’s införande av ett lesbiskt kontinuum kan ses som en dekonstruktion av en sexuell kategori. I min läsning av Michael Warner (1993) frågar jag huruvida den queera metoden även kan användas till att ifrågasätta normer om att vara sexuell, och i min läsning av Butler (1990) diskuterar jag frånvaro av begär i relation till möjliga subjektspositioner inom ramen för en heterosexuell matris. I min slutdiskussion återknyter jag till Foucault, och problematiserar (a)sexualitet ur ett könsmaktsperspektiv. Jag avslutar med att problematisera den gränsdragning mellan sexuellt och icke-sexuellt vi alla ständigt avkrävs att göra.</p>