Systems Engineering is catching pace in many segments of product manufacturing industries. Model-Based Systems Engineering (MBSE) is the formalized application of modeling to perform systems engineering activities. In order to effectively utilize the complete potential of MBSE, a methodology consisting of appropriate processes, methods and tools is a key necessity. In the last decade, several MBSE projects have been implemented in industries varying from aerospace and defense to automotive, healthcare and transportation. The Systems Modeling Language (SysML) standard has been a key enabler of these projects at many companies. Although SysML is capable of providing a rich representation of any system through various viewpoints, the journey towards adopting SysML to realize the true potential of MBSE has been a challenge. Among all, one of the common roadblocks faced by systems engineers across industries has been the software engineering-based nature of SysML which leads to difficulties in grasping the modeling concepts for people that do not possess a software engineering background. As a consequence, developing a system (or a system of systems) architecture model using SysML has been a challenging task for many engineers even after a decade of its inception and multiple successive iterations of the language specification. Being a modeling language, SysML is method-agnostic, but its associated limitations outweigh the advantages. ARCADIA (Architecture Analysis and Design Integrated Approach) is a systems and software architecture engineering method based on architecture-centric and model-based engineering activities. If applied properly, ARCADIA allows for a very effective way to model the architecture of multi-domain systems, and overcome many of the limitations faced in traditional SysML implementation. This thesis evaluates the architecture development capabilities of ARCADIA/Capella versus SysML following the Object-Oriented Systems Engineering Method (OOSEM). The study focuses on the key equivalences and differences between the two MBSE solutions from a model development perspective and provides several criteria to evaluate their effectiveness for architecture development using a conceptual case of Adaptive Cruise Control (ACC). The evaluation is based on three perspectives namely, architecture quality, ability to support key process deliverables, and the overall methodology. Towards this end, an industry-wide survey of MBSE practitioners and thought leaders was conducted to identify several concerns in using models but also to validate the results of the study. The case study demonstrates how the ARCADIA/Capella approach addresses several challenges that are currently faced in SysML implementation. From a process point of view, ARCADIA/Capella and SysML equally support the provision of the key deliverable artifacts required in the systems engineering process. However, the candidate architectures developed using the two approaches show a considerable difference in various aspects such as the mapping of the form to function, creating functional architectures, etc. The ARCADIA/Capella approach allows to develop a ‘good’ system architecture representation efficiently and intuitively. The study also provides answers to several useful criteria pertaining to the overall candidate methodologies while serving as a practitioner’s reference in selecting the most suitable approach.

This study considers the relationship between landscape and the Arcadian funereal imagination in the context of eighteenth century Britain, arguing that the Arcadian landscapes imagined by the British elite were instruments of rituals facilitating the reformation and transformation of socioeconomic, political, and moral structures of the British empire. Drawing upon texts and landscape practices, three case studies are examined: Alexander Pope’s (1688-1744) Twickenham grotto and his descriptive letter to Edward Blount; Sir William Chambers’ (1723-1796) Dissertation on oriental gardening and his design for Kew gardens, Sir John Soane’s (1753-1837) manuscript Crude hints towards an history of my house in LIF and his house-museum in Lincoln’s Inn Fields in London. The landscape itinerary of Pope’s Twickenham villa, in relation to his letter to Blount, suggests that it was structured analogous to the initiatory route of the Eleusinian mysteries as accounted in Pope’s translation of the Odyssey. Noting Pope’s engagement with Freemasonry, associated with the Opposition party, I suggest this implied Odyssean journey not only metaphorically anticipates the restitution of the Stuart dynasty and the reassertion of a political order founded upon aristocratic land ownership, but is also a means by which the ‘initiates’ contest the Enlightenment ideal of a mind of autonomy. In relation to the Burkean sublime, Chambers’ Dissertation, an imaginary travel narrative, is read as a city landscaping theory which aims to shape the morals of British citizens exposed to the erosion of commercial society. Whilst the scenes of luxury in the Chinese gardens imply a double effect of commercial society, the funereal imagery of ‘the surprising,’ built upon the Burkean sublime-effect, is intended as a cure of moral corruption associated with luxury. Stimulated by geological notions (e.g. stratigraphy and catastrophism), Soane’s ruinous text of Crude hints, a mirror of the house-museum as well as the earth, illustrates a parallel between the ‘first principles’ of the movement of the earth and that of the mind, i.e. imagination and signification. The funereal imagination in the text, which itself represents simultaneous creation and destruction, is revealed to be the architect’s construction of an ideal language that can express the being of the nation and the self. This thesis ends with a theoretical discussion of the role of the funereal imagination in eighteenth century landscape and architecture, i.e. how British imperial identity was forged, transmitted, negotiated, and reconstructed constantly within the temporally and spatially extended discursive realm of Arcadian mythology.

This thesis is contains descriptions and definitions of the 2nd millennium BC tholos tomb architecture in Mainland Greece. The study area is divided into eight regions: Peloponnessos, Central Greece, Epirus, Attica, Euboea, Thessaly, Macedonia and Thrace. The time period of earliest tomb dated between 2000-1675 BC and the latest between 1320-1160 BC. Attention has been put on issues of typological characteristics, construction technique and stone materials of the tholos tombs.

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This thesis starts from the point of departure that Sidney's claim in his Defence of Poetry that the purpose of literature is to delight and instruct a given audience is both an accurate and important guiding principle behind the creation of his two Arcadias. By their author's criteria, Sidney's works seek not only to provide diverting images of a fictive world, but to insure that these images serve some specific moral, didactic purpose. The manner in which Sidney goes about achieving this end is, however, less simplistic than the ordinary understanding of didactic literature connotes. The most historically determined aspect of the Arcadia 's didacticism is its extensive and strategic deployment of rhetorical figuration. Rhetoric in Sidney's Renaissance England represented both a vital tool in the smooth running of political life and a signpost of literary genius. The Arcadia thus manipulates specific rhetorical figures and tropes both to demonstrate the great literary skill of its author as well as to depict an ethical and political ideal. Part One of the thesis first investigates the history of rhetorical theory and its impact on the reputation of Sidney's work. It then goes on to explore particular rhetorical devices employed most frequently and significantly in the Old and New Arcadias, drawing comparisons between the versions as to underscore the differences in stylistic procedure and dramatic content of each work. Other aspects of Sidney's rhetoricism, such as his treatment of paradox and his rhetorical character portrayal, are also studied in an effort to gauge the major differences between the Old and New Arcadias. The overall conclusions drawn indicate that Sidney adapts his rhetorical strategy to accommodate a more complex and mature vision of ethical behaviour in his revised work. The other key aspect of Sidney's didacticism is his self-conscious and contentious depiction of gender roles. That is, Sidney plays off varying aspects of traditionally gender-associated behaviour to portray his own vision of an heroic ethical ideal. For example, the Amazon and the transvestite become vehicles through which to explore aspects of femininity that are for Sidney wholly in concord with manifestations of heroism. Moreover, Sidney subverts traditional gendered conceptions of particular vices and virtues to illustrate a liberal attitude toward the potentialities of women and men. Part Two, then, is dedicated to drawing out Sidney's understanding of gender roles as they reflect and demonstrate his unique vision of an heroic ideal. The observations made about the rhetorical and gendered dimensions of Sidney's didacticism are brought together in the conclusion, where Sidney's rhetoric is situated within the context of gender. In other words, the gendered conception of Sidney's particular brand of rhetoric is brought to the fore and poised within the ethical framework it embodies.

The purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice. Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science. These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe.

Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.

This thesis examines the complex and conflicting arguments surrounding the crime of rape in early modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore the issue of rape. The thesis explores Sidney's attitude toward a system that sanctioned systematic sexual violence towards women as expressed in the text; as part of this it explores the way that the text differentiates rape from seduction.

Dans Arcadia de Sir Philip Sidney (1554-1586), les représentations de la nature témoignent de la richesse de l’univers artistique de l’auteur. Le titre de l’œuvre suggère que le socle esthétique sur lequel repose la mimesis sidnéienne est ancré dans l’imitation de la tradition poétique pastorale. L’imitation littéraire est certes au cœur du processus de création sur lequel repose la composition de l’œuvre. Cependant, le texte de Sidney est bien plus qu’une autre Arcadie littéraire inspirée des Bucoliques de Virgile ou de L’Arcadie de Jacopo Sannazaro. Le texte fait s’imbriquer les récits héroïques qui empruntent à l’épopée les repères esthétiques sur lesquels reposent l’évocation du locus terribilis, vision antagoniste du locus amoenus. L’œuvre est donc animée par une passion pour la fiction au point que la littérature et la lecture se substituent à l’intrigue en tant que sujet même de l’œuvre. Cette conception de la création littéraire comme acte réflexif imprègne la représentation de la nature qui devient donc dans certains passages un texte dans le texte, une nature textualisée. Le champ de la réflexivité s’étend à d’autres domaines de la création artistique et notamment aux arts plastiques dont l’esthétique informe à la fois la représentation de la nature et la matière verbale de l’œuvre. L’affinité entre les formes verbales et les formes visuelles est sous-tendue par une esthétique commune que l’on doit replacer dans le contexte du mouvement du maniérisme. Paradoxalement, l’unité de cette œuvre protéiforme réside dans sa fragmentation dont résulte une esthétique du détail. L’énergie créative de l’auteur s’illustre en effet dans la représentation de petites natures dont l’esthétique témoigne de la beauté de son univers artistique. / In Philip Sidney’s Arcadia, the representations of nature testify to the diversity and wealth of the author’s artistic world. The title of the literary work suggests that the aesthetic foundations on which the Sidneyan mimesis lies are rooted in the imitation of the pastoral poetic tradition. Literary imitation lies at the core of the creative process from which the text proceeds. Yet, Philip Sidney’s work goes beyond the vision of nature as locus amoenus associated with Virgil’s Bucolics or Jacopo Sannazaro’s own Arcadia. The text features embedded narratives recounting heroic tales which draw on the epic literary tradition and lead to the representation of nature as locus terribilis. The passion for fiction with which Arcadia is imbued leads to a shift from the plot to the essence of literature as the main focus of Sidney’s work. This conception of literary creation as a reflexive praxis pervades the representation of nature which, in parts of the text, becomes a text within the text, a textualized nature. The spectrum of the reflexive dynamics encompasses several artistic areas including the plastic arts which inform both the aesthetics of the representation of nature and that of the verbal matter. The correspondences between the visual forms and the verbal ones spring from a common aesthetics which ties to the artistic context of mannerism. Paradoxically, the unity of this multifarious work lies in its fragmented dimension from which derives an aesthetics of the detail. Indeed, the illustration of author’s creative energy resides in the depictions of a small-scale nature and minute details which illustrate the beauty of his artistic environment.

Bei der Arbeit handelt es sich um Forschungen zur Topografie und Siedlungsgeschichte der Stadt Orchomenos im nordöstlichen Arkadien (in der zentralen Peloponnes) vom Neolithikum bis in die Spätantike. Für ein umfassenderes und präziseres Bild in Bezug auf die Stadt- und auch Landschaftsgeschichte der Region, wird eine Gesamtbetrachtung und Bilanz aller bis dato bekannten Fakten und Quellen - antike Autoren, Reisende der Neuzeit, Denkmäler, Epigraphik, Numismatik – erarbeitet. Dadurch wird bewiesen, dass Orchomenos die Kriterien einer antiken griechischen polis erfüllt: Es besaß ein städtisches Zentrum mit Ober- und Unterstadt, dazu eine Agora mit Bauten politischer (Hallen), religiöser (Tempel) und Unterhaltungsfunktion (Theater). Orchomenos weist mit rund 100 Quadratkilometern auch das für griechische poleis charakteristische zugehörige Umland auf. Außerdem besaß Orchomenos einen Stadtkult, eine Befestigungsmauer und ein Straßennetz, durch das es mit benachbarten Städten und Regionen auf der Peloponnes verbunden wurde. Menschliche Aktivitäten und Besiedlung lassen sich in der Region Orchomenos bereits seit dem Neolithikum nachweisen, mit Ausnahme der Dunklen Jahrhunderte. Die Blütezeit von Orchomenos ist, nach dem Spektrum des archäologischen Materials zu urteilen, in die spätklassische Zeit zu setzen. Für die vorliegende Arbeit wurde u. a. die Existenz einer Rampe am südöstlichen Mauereingang nachgewiesen. Die frühere Bearbeitung der Fundstücke aus Orchomenos konnte beispielsweise durch Metallobjekte aus dem Nationalmuseum von Athen oder eine wissenschaftliche Aufnahme der zwischen 2011 und 2014 entdeckten Neufunde erweitert werden. / The work deals with research on the topography and settlement history of the city of Orchomenos in north-eastern Arcadia (in the central Peloponnese) from the Neolithic to Late Antiquity. An overall view and appraisal of all facts and sources known to date - ancient authors, modern travelers, monuments, epigraphs, numismatics - is compiled for a more comprehensive and precise picture of the urban and landscape history of the region. The research proves that Orchomenos fulfills the criteria of an ancient Greek polis: It had an urban center with an upper and lower city, as well as an Agora with buildings for political (halls), religious (temple) and entertainment functions (theater). With an extension of ca. 100 square kilometers, Orchomenos had controlled the surrounding area that is characteristic of Greek poleis too. In addition, Orchomenos had a city cult, a fortification wall, and a road network connecting it to neighboring cities and regions in the Peloponnese. Human activity and habitation in the region of Orchomenos can be traced back to the Neolithic Age, with the exception of the Dark Ages. Judging by the range of archaeological material, the height of Orchomenos dates back to the Late Classical Period. For the present work is, among others, the existence of a ramp at the south-eastern entrance to the wall proven. The earlier documentation of the finds from Orchomenos could be expanded, for example, with metal objects from the National Museum of Athens or a scientific recording of the new finds discovered between 2011 and 2014.