Thesis (Ph. D.)--University of New South Wales, 2000. / Title from PDF title page (viewed on July 20, 2007) Includes bibliographical references (p. 342-364).

The current era, or postmodern context, is characterized by an overwhelming amount of anxiety concerning humanity’s future, tied to a general perception of the postmodern context as one that is defined by ‘crisis.’ This anxiety-provoking sense of crisis is, I believe, the product of a much more significant destabilization of the paradigmatic base upon which the human worldview is established. The period that extends from the Newtonian era to the late Twentieth Century has been informed by what Edgar Morin calls a ‘paradigm of simplicity’ in terms of which the universe was understood as a perfectly knowable, deterministic system. Following a series of revolutionizing discoveries throughout the Twentieth Century, however, it has come to light that this deterministic paradigm is no longer suitable as a way of understanding the universe. Instead, a ‘paradigm of complexity,’ in which the universe is understood as a complex, self-organizing system that is never totally knowable, has been posited by thinkers such as Morin and Paul Cilliers. Further, both of these thinkers, among others, argue that the acknowledgment of complexity is an inherently ethical matter, since complex systems (such as human communities) present one with difficult choices to make in uncertain situations, rather than determinate sets of rules to follow. This study aims to show that a complexity view of the human lifeworld, does not cast the uncertainty of humanity’s future as a threatening cause of anxiety and dread, but offers us a valuable opportunity for growth, adaptation and the creation of new ethical values. Certainly, an inability to come to grips with this new paradigm has led to desperately reactionary measures on the part of some to secure a semblance of the stability and control that the ‘paradigm of simplicity’ made normative. As a result, the complex reality of the human lifeworld is negated in favour of the misleading belief in the certainty and security provided by a particular metanarrative. By contrast, Jacques Lacan’s fecund poststructuralist theory of subjectivity and Jacques Derrida’s poststructuralist logic offer useful heuristics for the navigation of complexity thinking that neither mistakenly negate moments of uncertainty, anomaly and paradox for the sake of certainty, nor swing to the opposite, equally unacceptable, extreme of absolute relativism. Poststructuralist logic points to the notion of a ‘complexity ethics’ which issues a challenge to the idea, stemming from the ‘paradigm of simplicity’, that it is ever possible for agents to adopt an uncompromised ethical stance. The upshot of this is to argue that it is essential for contemporary humans to learn to live with ethical uncertainty, paradox, compromise, contamination and other figures of complexity, rather than search for an impossible certainty, since this strategy leads to more realistic, moderate, and therefore less dangerous, ethical reasoning. Good popular culture texts, such as the graphic novel Watchmen, which represent the reality of a complex human lifeworld, have the power to communicate these rather difficult philosophical ideas concerning the complexity of the human lifeworld to a wide audience in a very accessible format. An analysis of the varying ethical stances taken by certain characters demonstrates, in concrete terms, just how precisely the novel confirms the poststructuralist argument concerning inescapable ethical contamination. Thus, it is with recourse to such texts that one might begin to answer more concretely the questions, ‘what does complexity imply for ethical theory?’ and ‘what might an ethics for the complex lifeworld entail?'.

The purpose of this study is to determine the general style characteristics of the works for solo trumpet by Alan Hovhaness, viz., Khrimian Hairig, Overture to Avak, Prayer of Saint Gregory, and Haroutiun. The musical elements of form, melody, harmony, tonality, rhythm, texture, and counterpoint are examined objectively in order to determine the essential features of the music. Further consideration is given to the idiomatic use of the solo trumpet in these compositions. Each composition is examined separately, the conclusions and generalizations of the style features being reserved for the final chapter.

The aim of this study was to investigate the strategies used to transfer aspects of culture in the translation of an English novel into Zulu. For this purpose, C.L. S. Nyembezi' s Zulu translation, Lafa Elihle Kakhulu ([1957] 1983), and Alan Paton's Cry, the Beloved Country ([ 1948] 1966) were used. In the study a cultural model for translation, used within the descriptive translation studies paradigm, was adopted in order to conduct a comparative analysis of proper names, terms of address, idiomatic expressions, figurative speech and aspects of contemporary life. It was found that Nyembezi mainly used cultural substitution, transference, domestication, addition and omission as translation strategies. The findings also showed that in resorting to these strategies certain rnicrotextual shifts resulted in macrotextual modifications of the translated novel as a whole. The macrotextual elements of the translated text most affected by microtextual shifts are characterisation and focalisation which, in turn, influence style and theme. / African Languages / M.A. (African Languages)

Discute o papel do poder político nas sociedades autoritárias e do pensamento libertário e anarquista, utilizando as histórias em quadrinhos V de Vingança e Watchmen, ambas do roteirista Alan Moore, em função das suas simbologias e temáticas. O foco de estudo são as relações políticas e sociais que estas graphic novels possuem, apresentando as histórias em quadrinhos como um recurso informacional que tem um papel na ampliação das possibilidades de comunicação e expressão na sociedade contemporânea, além de trabalhar a conscientização política do leitor acerca das diversas possibilidades de padrões de comportamentos individuais e coletivos no mundo atual. / Discusses the role of political power in authoritarian societies and libertarian and anarchist thought, using the comics V for Vendetta and Watchmen, both from writer Alan Moore, according to their symbols and themes. The focus of the study are the political and social relations that these graphic novels exhibit, featuring the comics as an informational resource that has a role in increasing the possibilities of communication and expression in contemporary society, in addition to working the political consciousness of the reader about the various possibilities for individual and collective behavior patterns in today\'s world.

The aim of this study was to investigate the strategies used to transfer aspects of culture in the translation of an English novel into Zulu. For this purpose, C.L. S. Nyembezi' s Zulu translation, Lafa Elihle Kakhulu ([1957] 1983), and Alan Paton's Cry, the Beloved Country ([ 1948] 1966) were used. In the study a cultural model for translation, used within the descriptive translation studies paradigm, was adopted in order to conduct a comparative analysis of proper names, terms of address, idiomatic expressions, figurative speech and aspects of contemporary life. It was found that Nyembezi mainly used cultural substitution, transference, domestication, addition and omission as translation strategies. The findings also showed that in resorting to these strategies certain rnicrotextual shifts resulted in macrotextual modifications of the translated novel as a whole. The macrotextual elements of the translated text most affected by microtextual shifts are characterisation and focalisation which, in turn, influence style and theme. / African Languages / M.A. (African Languages)

Discute o papel do poder político nas sociedades autoritárias e do pensamento libertário e anarquista, utilizando as histórias em quadrinhos V de Vingança e Watchmen, ambas do roteirista Alan Moore, em função das suas simbologias e temáticas. O foco de estudo são as relações políticas e sociais que estas graphic novels possuem, apresentando as histórias em quadrinhos como um recurso informacional que tem um papel na ampliação das possibilidades de comunicação e expressão na sociedade contemporânea, além de trabalhar a conscientização política do leitor acerca das diversas possibilidades de padrões de comportamentos individuais e coletivos no mundo atual. / Discusses the role of political power in authoritarian societies and libertarian and anarchist thought, using the comics V for Vendetta and Watchmen, both from writer Alan Moore, according to their symbols and themes. The focus of the study are the political and social relations that these graphic novels exhibit, featuring the comics as an informational resource that has a role in increasing the possibilities of communication and expression in contemporary society, in addition to working the political consciousness of the reader about the various possibilities for individual and collective behavior patterns in today\'s world.

Cette thèse a pour but d’étudier le traitement de la communication du Parti Apriste Péruvien, représenté et incarné par Alan García Pérez, par les médias de communication massive péruviens, La República et El Comercio (presse écrite) et Panorama et El Francotirador (magazines télévisés) dans le cadre des trois campagnes présidentielles de 1984-1985, 2001 et 2005-2006. L’analyse se base sur les articles des quotidiens péruviens, La República et El Comercio, ainsi que sur des reportages et des interviews des magazines télévisés Panorama et El Francotirador ; elle étudie aussi bien la perception de la communication du Parti Apriste Péruvien par les médias péruviens cités que la stratégie de communication mise en place par le Parti Apriste au cours des trois campagnes présidentielles. Cette thèse met ainsi en lumière l’évolution de la communication du Parti Apriste et l’information politique des médias de communication massive péruviens au cours d’une période dite charnière, la campagne présidentielle. / This doctoral thesis aims to define the treatment of the communication of the Alianza Popular Revolucionaria Americana, represented and personified by Alan García Pérez, by the peruvians medias of massive communication, La República and El Comercio (press) and Panorama and El Francotirador (television magazines) during the three presidential campaigns, 1984-1985, 2001 and 2005-2006. This analysis is basically base on the articles of La República and El Comercio and on the reports and interviews of Panorama et El Francotirador ; it analyses also at the same time the perception of the communication of the Apra by the peruvians medias and the strategy of communication set up by the Apra during the three presidential campaigns. This doctoral thesis illustrate the evolution of the communication of the Apra and the political communication of the peruvian medias of massive communication during an intense period, the presidential campaign.

L'objectif de ce mémoire consiste pour l'essentiel à tenter de dégager et de cerner dans l'œuvre d'Alan Watts, les concepts fondamentaux reliés à la pensée intuitive, c'est-à-dire ceux qui touchent l'émergence de la pensée intuitive comprise comme une redécouverte des possibilités créatrices liées à la spontanéité de la pensée et de l'action. À travers des interrogations sur le pouvoir de l'intuition associé à un état d''esprit au moyen duquel les choses apparaissent dans leur acception totale, dans l'unité avec ce qu'il y a à connaître, c'est par la critique de la perception de la réalité fondée sur une coupure entre la raison et les émotions que sera analysé et critiqué à travers l'œuvre d'Alan Watts. Nous évoquerons et discuterons avec l'auteur des limites de la pensée abstraite fondée presqu'essentiellement sur l'utilisation des mots et des concepts identifiés comme les véhicules privilégiés pour rendre compte de la réalité.

L’objet de cette recherche doctorale consiste à mettre en évidence le fait que l'oeuvre d’Alan Wilson Watts présente un intérêt philosophique manifeste. Plus, qu’il y a dans ses ouvrages publiés durant la Première Période (1935-1958), la manifestation d’une pensée originale en formation ; une pensée dont on peut reconnaître aujourd'hui toute l'importance qu’elle a eue dans l’émergence de ce qu’il est convenu d’appeler la philosophie de la contre-culture américaine. Ce que nous voulons montrer, c’est que malgré ses propres contradictions et ses emprunts multiples à la tradition mystique occidentale, la théologie chrétienne, la psychologie des profondeurs, les traditions philosophiques et religieuses de l’Orient, cette philosophie est demeurée constamment éprise de cette « grande certitude » qu’il existerait au sein de toutes les grandes cultures spirituelles une philosophia perennis, c'est-à-dire une philosophie qui posséderait en propre un caractère universel et qui s’intéresserait, malgré des différences mineures relatives à l’interprétation culturelle, autant à la nature qu’à la destinée de l'homme. Une philosophie qui, somme toute, s'apparenterait plus à un amour de la sagesse qu'à une recherche explicative et justificative des causes, et conséquemment, à la théorisation d'une argumentation rationnelle. Nous montrerons que cette œuvre en formation s’inscrit également dans la voie de la continuité, ce qui n’est pas sans rappeler la figure du cercle ou encore la notion de cycle, qui rappelons-le, chez cet étrange philosophe d’Occident à l'esprit taoïste, se présente comme les circonvolutions d’un parcours qui retournent constamment à ses racines et à ses sources pour le mener toujours plus loin, c’est-à-dire nulle part ailleurs qu' « ici et maintenant ».