This thesis explores high-end and bespoke menswear, tailoring and fashion, asking the question - why do some men choose to spend large sums of money to have clothes made for them? Using tailors and high-end menswear as a lens, this thesis unpacks how men construct their notion of self in the digital and terrestrial worlds through the clothes that they wear and the identities they perform. Based on twelve months' terrestrial fieldwork in London and twenty-four months' concurrent digital fieldwork with Instagram, this thesis examines notions of dress, performance and the individual across a multi-dimensional fieldsite set within a blended digital and terrestrial landscape. The fieldwork comprised visiting and interviewing tailors, and observing inside their workshops and at their fashion shows. In addition, the analyst-as-client built relationships with tailors, and constructed a digital self within Instagram through the publication of self-portraits and images of clothing. This thesis is presented in four chapters, flanked by an Introduction and Conclusion. These chapters move from an exploration of terrestrial research in the first two, to an analysis of digital research in the latter two. Five major motifs emerge in this thesis: the importance of the anthropology of clothing and adornment within western society; the nature of the individual in a digitised world; the difficulty in conducting western-centric fieldwork without an element of digital analysis; a methodological restructuring of digital anthropology; and the idea that a digital self can acquire agency. This thesis employs a pioneering blended methodology which brings together the fields of digital anthropology, visual anthropology and material culture to question how selves are constructed in a rapidly changing and increasingly digitised modernity. In conclusion, the thesis argues that individuals construct multiple digital selves and a sense of identity (around the notion of 'authentic individualism') that is illusory.

I denna uppsats analyseras spelen Howling Dogs och 16 Ways to Kill a Vampire at McDonalds ur ett narratologiskt perspektiv. Huvuddelen av analysen fokuserar på hur hypertextens mediala förhållanden påverkar relationen mellan spelaren och narrativet samt på förhållandet mellan berättare och lyssnarinstans. Analysen baserar sig på metoder med utgångspunkt i possible worlds theory, formulerat av Alice Bell. Uppsatsen exemplifierar hur man går till väga i analys av texter med ett starkt deiktiskt förhållande mellan texten och läsaren. Syftet är att undersöka existerande metoder och att förbättra dem, tillika en, möjligtvis naiv, förhoppning om att komma ett steg närmare ett större litteraturvetenskapligt intresse gällande vad spel kan tillföra litteraturvetenskapen. / This essay contains narratological analyses of the games Howling Dogs and 16 Ways to Kill a Vampire at McDonalds. The analyses are focused on the hypertext’s medial impact on the relations between user and narrative as well as narrator and narratee. The work is based on methods using possible worlds theory, created by theorists such as Alice Bell. A main purpose here is to further exemplify how to analyze texts having a deictic effect between themselves self and their readers. The purpose here is thus to test existing methods and further develop them. This purpose is also motivated by a, possibly naïve, hope of getting one step closer to a wider acknowledgement of how games can contribute to the subject of literature.

This thesis examines the results of a large-scale sociolinguistic study on the use of English in two universities in China. The aim of the thesis is to determine the sociolinguistic realities of the use of English in higher education in China. The universities were selected on the basis of their unique status in China’s higher education hierarchy. One university was a private institute reliant on student fees for its income, and the other a state-funded university under the supervision of the Chinese Ministry of Education. A sociolinguistic survey was conducted involving some 490 respondents at these universities between early 2012 and mid-2013. It was specifically aimed at describing the use of the English language in the formal education of students. The study reports on the status and functions of English at the universities, as well as the attitudes of various stakeholders towards English (and other languages). It also examines their beliefs about English. English is considered in a number of contexts: first, the context of language contact, of English alongside other languages and language varieties on the two university campuses; second, of English as part of the linguistic worlds of Chinese students who switch between languages in their daily lives, both in their education as well as their private lives; and third, of the spread and use of English in terms of the physical and virtual movement of people across spaces. The findings of the study indicate that the increasing use of English in the formal education at these universities is having an impact on the ways in which Chinese students are learning their course materials, and even more notably in the myriad ways these students are using multiple languages to negotiate their everyday lives. As university students in China become increasingly bilingual, their ability to move across spaces is shown to increase, both in the ‘real’ world, as well as in their Internet and entertainment lives. / Linguistics and Modern Languages / D. Litt. et Phil. (Linguistics)

Text in Afrikaans / Because of the variety of relationships which exist between transitive verbs and their objects, all direct objects are not comparable with one another. One class of object, however, which stands by itself and which is of considerable interest, is the OBJECT OF RESULT. Because of the particular relation which exists between object and transitive verb in resulting constructions, we have here an unique class of direct object. The resulting construction is therefore, in the first instance a relation construction. This specific relation between transitive verb and object is mainly determined by the presence of or absence of certain inherent distinctive characteristics by transitive verbs and which play a determining role in identifying OBJECTS OF RESULT. From this study it is also clear that there is a semantic value present in transitive verbs (that can combine with objects of result) which has not been observed or distinguished by lexicographers and grammarians until recently. / Omdat voorwerpe van sinne in 'n verskeidenheid van betrekkinge met (oorganklike) werkwoorde kan staan, is alle direkte voorwerpe nie almal in alle opsigte vergelykbaar met mekaar nie. Waarskynlik die interessantste voorwerp in hierdie verskeidenheid is die RESULTATIEWE VOORWERP. As gevolg van die besondere verhouding wat daar bestaan tussen hierdie voorwerp en die HW, het ans hier te make met 'n unieke tipe direkte voorwerp wat kan aanspraak maak op 'n eie bestaansreg as 'n subkategorie van die hoofkategorie: Direkte Voorwerpe. Die resulterende konstruksie is dus, in die eerste plek, 'n verhoudingskonstruksie. Hierdie spesifieke verhouding tussen die HW en die voorwerp word grootliks bepaal deur die aan- of afwesigheid van sekere inherente distinktiewe kenmerke wat by oorganklike werkwoorde voorkom en wat 'n bepalende rol speel by die ontstaan van en identifisering van RESUL TATIEWE VOORWERPE. Uit hierdie ondersoek sal verder blyk dat daar 'n semantiese waarde by oorganklike werkwoorde is wat tot dusver nag nie deur taalkundiges/woordeboekmakers of woordverklaarders onderskep en onderskei is nie. Oorganklike werkwoorde kan dus fyner gedefinieer word ten opsigte van hul verbindbaarheid, al dan nie, met resultatiewe voorwerpe. / Language Education, Arts and Culture / M.A. (Afrikaans)

The inadequacy of the usual possible world semantics of modal languages when the meaning of 'belief' is attached to the modal operator is discussed. Three other approaches are then investigated. In the case of Moore's autoepistemic logic it becomes possible to compare an agent's beliefs to 'reality', which cannot be done directly in the possible world semantics. Levesque's semantics makes explicit in the object language the notion of 'this is all the information the agent has', which plays an important role in nonmonotonic reasoning. Both of these approaches deal with ideal reasoners. The third approach, Konolige's deduction model, is based on a semantics capable of describing the beliefs of one or more resourcebounded agents. Finally, the AGM postulates for belief revision are discussed. / Computer Science / M.Sc. (Computer Science)

New mass media impact on the nature of public communication and the use and gratification of existing mass media because each new medium is used and experienced differently. As a new mass medium, the Internet offers different forms of communication, such as Internet Relay Chat, Multi-User Dungeons and chatrooms. It has also combined traditional mass media, namely print, radio and television, into a single powerful medium. Due to the fact that the Internet is still an emerging medium, its long-term effects on the nature of public communication and traditional mass media warrants ongoing investigation. The first part (Part A) of this dissertation situates the Internet chronologically within the development of traditional mass media and their impact on public communication. Part B investigates Internet use among a group of professionals in South Africa. The objective is to identify how they use the Internet and the gratification they derive from it. / Communication Science / M.A. (Communication)

This dissertation presents a framework which supports a group-based exploratory approach to learning and integrates 3D gaming methods and technologies with an institutional learning environment. This provides learners with anytime-anywhere access to interactive learning materials, thereby supporting a self paced and personalised approach to learning. A simulation environment based on real world data has been developed, with a computer games methodology adopted as the means by which users are able to progress through the system. Within a virtual setting users, or groups of users, are faced with a series of dynamic challenges with which they engage until such time as they have shown a certain level of competence. Once a series of domain specific objectives have been met, users are able to progress forward to the next level of the simulation. Through the use of Internet and 3D visualisation technologies, an excavation simulator has been developed which provides the opportunity for students to engage in a virtual excavation project, applying their knowledge and reflecting on the outcomes of their decisions. The excavation simulator enhances the student learning experience by providing opportunities for students to engage with the archaeological excavation process in a customisable, virtual environment. Not only does this provide students with an opportunity to put some of the theories they are familiar with into practice, but it also allows for archaeology courses to place a greater emphasis on the practical application of knowledge that occurs during the excavation process. Laconia Acropolis Virtual Archaeology (LAVA) is a co-operative exploratory learning environment that addresses the need for students to engage with archaeological excavation scenarios. By leveraging the immersive nature of gaming technologies and 3D multi-user virtual environments (MUVEs), LAVA facilitates the adoption of exploratory learning practices in environments which have previously been inaccessible due to barriers of space, time or cost.

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal www.bib.umontreal.ca/MU). / "La Flûte enchantée" (1975), téléfilm d’Ingmar Bergman, pose, dans une perspective sociologique, la question de l’adaptation de l’oeuvre alliée aux intentions esthétiques de son auteur. En quoi Bergman est-il parvenu à adapter "La Flûte enchantée" à la société, principalement suédoise, de 1975 à laquelle son film est destiné ? Comment développe-t-il sa contribution esthétique entre le respect de l’oeuvre, tant sur le plan de son contenu dramatique que sur le plan de sa réception, et l’innovation qui est à la base de son approche cinématographique ? De par son mode de diffusion télévisuel, le film de Bergman rend l’opéra accessible au plus grand nombre. De par ses réarrangements du livret, traduit en suédois, il réactualise l’oeuvre de Mozart. De par ses traits esthétiques, il exprime une vision de son auteur sur la représentation même d’un opéra sur scène et marque de son empreinte l’histoire des mises à l’écran d’opéras. / "The Magic Flute" (1975) is a television film directed by Ingmar Bergman which, from a sociological perspective, raises the question of an opera’s film adaptation paired with the aesthetic endeavours of filmmaking. How does Bergman succeed in adapting "The Magic Flute" to a contemporary, mainly Swedish, 1975 audience to whom his film is intended? How does he develop his aesthetic contribution as he comes face to face with the difficult choice between owing respect to the opera, in terms of the libretto’s content and of its reception, and envisioning a work of its own? Through its telecast, Bergman’s film makes the opera accessible to the public at large. By rearranging the libretto, translated into Swedish, it attunes Mozart’s work to contemporary issues. It also bears aesthetic traits which express Bergman’s ideas about the theatrical performance of an opera and has left its imprint on the history of operas on screen.

This thesis is concerned with the interaction between literature and abstract thought. More specifically, it studies the epistemological charge of the literary, the type of knowledge that is carried by elements proper to fictional narratives into different disciplines. By concentrating on two different theoretical methods, the creation of thought experiments and the framing of possible worlds, methods which were elaborated and are still used today in spheres as varied as modal logics, analytic philosophy and physics, and by following their reinsertion within literary theory, the research develops the theory that both thought experiments and possible worlds are in fact short narrative stories that inform knowledge through literary means. By using two novels, Abbott’s Flatland and Vonnegut’s The Sirens of Titan, that describe extra-dimensional existence in radically different ways, respectively as a phenomenologically unknowable space and as an outward perspective on time, it becomes clear that literature is constitutive of the way in which worlds, fictive, real or otherwise, are constructed and understood. Thus dimensions, established through extensional analogies as either experimental knowledge or modal possibility for a given world, generate new directions for thought, which can then take part in the inductive/deductive process of scientia. By contrasting the dimensions of narrative with the way that dimensions were historically constituted, the research also establishes that the literary opens up an infinite potential of abstract space-time domains, defined by their specific rules and limits, and that these different experimental folds are themselves partaking in a dimensional process responsible for new forms of understanding. Over against science fiction literary theories of speculation that posit an equation between the fictive and the real, this thesis examines the complex structure of many overlapping possibilities that can organise themselves around larger compossible wholes, thus offering a theory of reading that is both non-mimetic and non-causal. It consequently examines the a dynamic process whereby literature is always reconceived through possibilities actualised by reading while never defining how the reader will ultimately understand the overarching structure. In this context, the thesis argues that a causal story can be construed out of any one interaction with a given narrative—underscoring, for example, the divinatory strength of a particular vision of the future—even as this narrative represents only a fraction of the potential knowledge of any particular literary text. Ultimately, the study concludes by tracing out how novel comprehensions of the literary, framed by the material conditions of their own space and time, endlessly renew themselves through multiple interactions, generating analogies and speculations that facilitate the creation of new knowledge. / Cette thèse se penche sur l’interaction entre la littérature et la pensée abstraite. Plus spécifiquement, elle étudie la charge épistémologique du littéraire, le type de savoir qui est transporté par des éléments propres aux narrations fictives vers d’autres champs disciplinaires. En ce concentrant sur deux méthodes théoriques, la création d’expériences de pensée et l’établissement de mondes possibles, des méthodes qui ont été élaborées et sont toujours d’usage aujourd’hui dans des disciplines aussi variées que la logique modale, la philosophie analytique et la physique, et en suivant leur réinsertion à même la théorie littéraire, la recherche développe la postulat que les expériences de pensée et les mondes possibles sont en fait de courtes histoires narratives qui informent le savoir par des moyens littéraire. En utilisant Flatland de Abbott et The Sirens of Titan de Vonnegut, deux romans qui décrivent l’existence extra-dimensionnelle de façons radicalement différentes, un espace phénoménologiquement inconnaissable chez Abbott et une perspective extérieure au temps chez Vonnegut, il devient clair que la littérature est constitutive de la façon qu’un monde— qu’il soit fictif, réel ou autre—est construit et compris. Ainsi, les dimensions établies par des analogies extensionnelles génèrent de nouvelles directions pour la pensée, qui peut ensuite prendre part au processus inductif/déductif de la scientia. En contrastant les dimensions narratives avec la notion de dimension telle qu’elle s’est constituée historiquement, la recherche établit également que le littéraire ouvre un potentiel infini de domaines spatiotemporels abstraits, définis par leurs règles et leurs limites spécifiques, et que ces différents plis expérimentaux prennent eux-mêmes part dans un processus dimensionnel responsable pour de nouvelles formes de compréhensions. Au-delà des théories spéculatives qu’on retrouve dans l’étude de la science-fiction, où est mise de l’avant une équation entre le fictif et le réel, cette thèse examine la structure complexe de plusieurs possibilités superposées qui peuvent s’organiser autour d’ensembles compossibles plus importants, ainsi offrant une théorie de la lecture qui est à la fois non- mimétique et non-causale. En conséquence, l’investigation examine un processus dynamique par lequel la littérature est toujours reconsidérée au travers des possibilités qui sont actualisées par la lecture, alors qu’elle ne définit jamais la compréhension ultime que le lecteur ou la lectrice se fera de la structure globale du texte. Dans ce contexte, la thèse argumente qu’une histoire causale peut être créée à partir de n’importe quelle interaction avec le texte— soulignant, par exemple, la force divinatoire d’une vision du futur particulière—même si cette narration ne représente qu’une fraction du savoir potentiel contenu à l’intérieur de n’importe quel texte littéraire particulier. Ultimement, l’étude conclut en décrivant comment de nouvelles compréhensions du texte, encadrées par les conditions matérielles de leur propre espace et temps, se renouvellent sans cesse grâce à des interactions multiples, ainsi générant des analogies et des spéculations qui facilitent la création de nouveaux savoirs.