This thesis examines representations of lawyers and law in examples of Jacobean city comedy, taking into account certain contemporary developments in the legal profession and the law in England. The period covered is 1598-1616. The thesis questions the conventional interpretation of city comedy as hostile to the legal profession. It suggests the topic is more complex than has been assumed, arguing that city comedy makes direct and indirect positive representation of Inns of Court lawyers, who are to be distinguished from attorneys (newly segregated in the Inns of Chancery), amateur quasi-lawyers, and university-educated civil lawyers. It is proposed that city comedy represents Inns of Court lawyers positively in two ways. Firstly, by means of legal content: representations of developments in the profession and the law demonstrate a wish to connect with the young lawyers and students of the Inns of Court, and reflect a contemporary drive by them for increased organization and regulation. Secondly, by means of literary form: ostensibly pejorative representations need not be taken at face value; instead, they may be found to be ironic. The main proposed contributions to knowledge are: that Inns of Court lawyers were a favoured part of the target audience of the private playhouses, making it questionable that they would be represented negatively in city comedy; that lawyers as represented in city comedy are not a single or a simple category; that representation of lawyers is inflected by the various forms and impulses of city comedy; and that city comedy incorporates some reflection of the increasing professionalization of legal practice in the period.

The commercialisation of military services has increased in importance since the end of the Cold War. Commercial Military Service Providers (CMSPs) have found increased respectability and worked in states on every continent. Writing on CMSPs has similarly increased. Several high profile incidents have come under intense scrutiny, and has led to some portions of the literature demonising their use. However, there are still conceptual and theoretical issues which have been under explored. This thesis contributes to the literature which has sought to address this theoretical lacuna. Historical Sociology and comparative analysis are employed to analyse the implications of CMSP use on the state. A modified version of the Ideological, Economic, Military and Political (IEMP) model developed by Michael Mann, is used to theorise the impact of commercial security providers on existing sources of power within the state, and the relationship between them. The thesis uses two case studies which are representative of the use of CMSPs during this time period. The Sierra Leone Civil War and the invasion and reconstruction of Iraq since 2003. It will be argued that CMSPs alter the balance between power structures within the state, positively and negatively affecting the power of the state. The short term use of CMSPs has proven to be useful and of increasing importance; especially when military weakness is an urgent problem. However, although there has been no example of CMSPs intentionally threatening state stability, they can also subvert the power of the state. CMSPs, particularly when used for an extended period, have undermined the relationship between the sources of power, undermining political stability. Most significantly they weakened the state by undermining the strength it gains from its embeddedness in society.

Alexander Runciman was in his mid-thirties before he adopted the monumental style of history painting on which his reputation has always been held to rest. What may be called the formative part of his career was therefore unusually extended. This thesis is a study of his development during this time, its background, and the sources from which derived his ideas on painting. This part of his life culminated in the monumental paintings that he did for Sir James Clerk of Penicuik in 1772 and the related work in the Cowgate Chapel, Edinburgh. These were the most important of all his works and were unique in eighteenth century painting. In them he combined the grand style that he had learned during the four years that he spent in Rome, with the native Scottish tradition of decorative painting in which he had been trained. The thesis therefore falls into three parts. The first (Chaps.1-7) deals with his life and background in Edinburgh; the second (Chaps.8-15) with his four years in Rome; and the third (Chaps.16-18) with the works that he carried out on his return to Edinburgh. In the first part attention is given in Chapters 1 to 3 to the men of the older generation from whom he may have learnt not only his style, but also his ambitions as a painter. Chapters 4 and 5 deal with the circles in which he moved among his own contemporaries, and the last two chapters in this part with his own and his younger brother. John's work in Edinburgh before they left for Rome in 1767. In the second part the first three chapters(S-10) cover the brothers' stay in Rome up to John's death late in 1768, or early in 1769. Following this event Alexander became determined to succeed, not merely as a landscape and decorative painter, but in monumental history painting. Chapter 11 is a discussion of the work of Gavin Hamilton and of James Barry, the two painters who influenced him most at this time. This discussion is extended in Appendix D which deals more fully with the work of Gavin Hamilton. Chapters 12-14 are an account of Runciman's first works in the new manner, with particular attention to his proposals for the decoration of Penicuik House. Chapter 15 deals with his relationship to Henry Fuseli at the end of his Roman stay. The last three chapters give an account of the circumstances in which he finally carried out his work at Penicuik, and of the pictures themselves. As they were destroyed by fire in 1899 Chapter 18 and part of Chapter 19 are devoted to a reconstruction of their appearance. The thesis concludes with a discussion of his work in the Cowgate Chapel. The part of this which survives is all that is left of his monumental work.

May the state, from a liberal point of view, operate laws and institutions that impede the mobile lifestyle of nomadic Roma and Travellers, or should the state take steps to accommodate their nomadic way of life? This is the essence of the problem of Roma and Traveller itinerancy and the question that is at the heart of this three-partite dissertation. The first part of the dissertation looks at public policy in France and the United Kingdom and describes the six public policy problems that constitute the problem of Roma and Traveller itinerancy. These problems concern the education of children, the French travel permits system, the legal conditions for voter registration and for GP registration, the housing benefits system, and the public provision of halting sites. The second part looks at liberal political theory. It suggests that contemporary liberalism divides into two strands that take different views on the entitlements of cultural and religious minorities, and it provides a detailed outline of the prime articulations of each approach, namely the multiculturalist liberalism of Kymlicka and the classic neutrality liberalism of Barry. The third part investigates what the two said liberalisms imply for the six policy problems from part 1. These analyses suggest that the two liberalisms have slightly diverging implications for the halting sites problem, the housing benefits problem and the problem of GP registration. They suggest furthermore that the two accounts converge on the question of voter registration and agree that the voter registration system must accommodate nomads, and may not make the possession of a fixed residence an absolute condition for voter registration. And the analyses suggest finally that the two liberalisms also converge over the education question and the travel permits question, but here support polices that are potentially inimical to Roma and Traveller itinerancy. The broader implications of these findings are that liberalism is potentially, but not necessarily and not intrinsically, inimical to Roma and Traveller nomadism, and that the disagreement between classic neutrality liberalism and multiculturalist liberalism is weak insofar as public policy is concerned.

The aim of this essay is to provide a perspective on literature inculpating colonialism using postcolonial literary theory and method. The subject material incorporates four novels studied during the literature modules for the English course at Högskolan Gävle (HIG). The four novels combine to highlight various issues that affect the Self-identity through hybridization and colonial discourse as well as the detrimental nature of the colonial project for indigenous value systems during the period of colonialism. There is also application of theories and concepts raised in academic literature from within and outside the curriculum of HIG. The use of the postcolonial literary methodology provides a critical perspective of the aforementioned literature while implementing theories associated with that movement such as hybridity and the redefining of borders as well as focusing on the social, cultural, political and religious impact of the coloniser’s activities in the colonies as raised in the novels.  The most significant findings of this essay include the roles of isolation and disconnection within the colonial project and the subsequential effects on the colonised and their descendants. There are findings and observations of the level of strategic application of universalistic colonial discourse and the intrinsic application of the language used in the objectification of the indigenous and the subjugation of their value systems. The role of perception is also highlighted including findings on the social implications for the colonies inhabitants, both dissident and conformist, raised within the chosen literature and this essay. The essay also examines the application of various strands of literary theory incorporated within postcolonialism including poststructuralism and psychoanalytic criticism as well as anthropology material.  The conclusion of this essay culminates with the conflicting interpretations of progress as a universalism that counters the theories of postcolonialists and poststructuralists and their subsequent refusal to succumb to literature’s prevalence. The subjectivity of the postcolonial literary theorist and the self-imposed parameters restrict the interpretation of the colonial and postcolonial literature. The aforementioned progress defined by improved standards of health, education and social justice is lacking in presence in both the postcolonial literature and the accompanying literary theory counterpart. Subsequently, the disconnected voice of isolation and the split/double identity take precedence over higher standards of living and the appreciation of access to improved human rights and social justice within postcolonial society.

In this thesis, I ask how our understanding of human relations carries implications for the way we understand the affordances of communication technology on human relations. To this end, I examine and compare two opposed perspectives of human relations and social life. The first perspective, networked individualism, is a version of network theory that begins with a foundation of agentic individuals who actively construct and manage their social worlds. Levinasian relationalism, the second perspective, offers a contrasting view that sees human relations as constitutive of human subjectivity. In comparing these two perspectives, I argue that networked individualism is an inadequate framework inasmuch as its ontological assertions prevent it from seeing some of the significant affordances of technology on human relations, and I suggest that Levinasian relationalism is a viable alternative.

This document examines the work in my MFA thesis exhibition. The objects in that installation address specific socio-aesthetic sites of class and power. The personal and cultural narratives examined here further explain the objects’ symbolic potential.

Made available in DSpace on 2016-04-26T18:16:02Z (GMT). No. of bitstreams: 1 Maira Cinthya Nascimento Ezequiel.pdf: 683377 bytes, checksum: f0d27e8c791fe6f4cea2b427509e9bf5 (MD5) Previous issue date: 2007-03-02 / This investigation searches for the effects of meaning resultants from the use of plasticity as a method for creating the visuality in the movie Barry Lyndon, by Stanley Kubrick (1975), and, at the same time, the intersemioticity that emerges from the blending of the aesthetic languages of cinema, painting and literature here involved. Concerning the methodology, it is based on a group of aesthetic and semiotic theories which include, especially, the model for analysis of meaning in visual arts proposed by Erwin Panofsky, the bonds between cinema and painting noted by Jacques Aumont, the concept of effect of realism such as formulated by Roland Barthes and of intersemiotic translation introduced by Roman Jakobson (and later redeveloped by Julio Plaza). The aim of this research is to follow the process of production of a realistic effect on the passages between one language and another. The hipothesis risen is that the strong sense of verosimilitude that results from the final product borrows its mode of installation from some of the eighteenth century realistic French painting. The choice of the movie is due to its stated visual exuberance as a result of a sophisticated dialogue established between the careful light capture and the rigorous use of pictorial references in correspondence with the historical time of the action, precisely the works Constable, Courbet, Corot and the so-called Barbizon Painters. Finally, Por fim, it drafts na approach between Kubrick s work and the idea of Modernity as thought by Baudelaire / O trabalho investiga os efeitos de sentido decorrentes do uso da plasticidade como método de construção da visualidade no filme Barry Lyndon, de Stanley Kubrick (1975), e, em paralelo, a intersemioticidade resultante do entrecruzamento das linguagens do cinema, da pintura e da literatura aí em jogo. Metodologicamente, ampara-se num conjunto de teorias estéticas e semióticas que envolvem, principalmente, o modelo de análise do significado nas artes visuais proposto por Erwin Panofsky, as aproximações entre o cinema e a pintura feitas por Jacques Aumont, o conceito de efeito de real tal como formulado por Roland Barthes e o de tradução intersemiótica introduzido por Roman Jakobson (e depois retomado por Julio Plaza). O objetivo da pesquisa é acompanhar o processo de produção de um efeito de real nas passagens entre uma e outra linguagem. A hipótese é que o forte efeito de verossimilhança que resulta deste filme toma emprestado da pintura realista francesa do século XVIII seu modo de se instalar. A escolha do filme deve-se à constatação de sua exuberância visual como resultado de um sofisticado diálogo estabelecido entre a minuciosa captação da luz e o rigor na utilização de referenciais pictóricos encontrados na pintura correspondente ao tempo da ação, mais precisamente nas obras de Constable, Courbet, Corot e dos Pintores de Barbizon. Por fim, esboça-se uma aproximação entre o trabalho de Kubrick e o que Baudelaire chamou de Modernidade

This study utilizes correspondence, memoirs, and secondary sources to explore the lives and careers of six Continental Navy captains?Esek Hopkins, Joshua Barney, John Paul Jones, Hector McNeill, Lambert Wickes, and John Barry?and reveal the motivational factors of patriotism, a desire for fame and professional advancement, and financial stability which underlay their decisions to seek commissions in the Continental Navy, and influenced their conduct while in the service. Additionally, it suggests that prewar interactions in an "Atlantic World" context influenced the ideological and personal motivations that formed the foundations for service in the Continental Navy. All three motivations played a role in each captain's career and affected their conduct in relation to their understandings of duty, but the degree to which they influenced the captains varied. Although the promise of a steady income helped motivate initial service, financial considerations played a larger role throughout Barney's and Barry's careers than they did for other captains. The desire for fame and personal prestige also affected the conduct and service of all six men, though Jones and Hopkins provide more concrete examples of its influence. Finally, experiences interacting with West Indies and Atlantic trade networks before the war likely influenced the captains' development of revolutionary principles, and their dedication to the United States. In addition to patriotism, Jones professed a devotion to universal principles of liberty and rights, and McNeill perceived the Revolution as an attempt to establish God's Kingdom of the Just. The degree to which each captain succeeded in achieving his goals, and the affect his Continental service had on employment after the Revolution, also varied significantly. Hopkins failed as the navy's commander-in-chief, but his performance did not negatively impact his social and political standing in his native Rhode Island. Unlike McNeill, Captains Barry, Barney and Jones also utilized their networks of friends and acquaintances well, helping them find prestigious and stable employment in other seagoing capacities after the war. Wickes died in 1777, but his brief service also suggests he would have achieved success had he survived.

Thesis (M.S.)--Missouri State University, 2008. / "May 2008." Includes bibliographical references (leaves 81-83). Also available online.