Thesis (M.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.F.A.) -- Montana State University -- Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Rick Pope.

Th.--Théol.--Helsinki, 1985. / Bibliogr. pp. 340-374.

This thesis is a study of Ben Jonson's point of view. It attempts to determine that point of view by evaluating two of his critical theories, that of the humours and classical unity of action, and by examining their relationship to a selected number of his plays - The Case Is Altered, The Alchemist. Every Man in His Humour, Every Man Out Of His Humour, and Volpone. Just as his plays are a reflection of the times through his eyes, so too are these two critical theories his reflection of general ideas current in the age. The theory of humours derives from an Elizabethan concept of order in the universe and in man, and unity of action from a classical idea of unity and coherence. No attempt is made to re-examine the 'Elizabethan World Picture' or the classical world view except in so far as they relate to Jonson's particular views. Chapter I, "Historical and Philosophical Perspective”, deals with some of the main influences of Jonson's own time which appear most pertinent to his point of view. Chapter II discusses relevant, literary and critical theories, both Elizabethan and classical. Chapter III explores the imaginative connection made by Jonson between the theory of humours and unity of action; also it attempts to show how this connection enables Jonson to recreate interdependent character and action in spite of a loss to the imagination of a spiritually unified cosmos. The remaining chapters use the humour theory to examine Jonson's characters as illustrative of his point of view and considers unity of action as a guide to his developing technique. Although Jonson achieves finest technical expression in The Alchemist, it is in Volpone that one finds the fullest realization of his point of view, and for this reason Volpone is the play most closely studied. / Arts, Faculty of / English, Department of / Graduate

This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 1970 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception. Garrick's adaption, which dominated the stage during the eighteenth century, reflected the genius of its producer but also demonstrated the skill with which Jonson balanced the plot. Garrick featured the part of Drugger, one of the minor gulls, but Jonson's plot structure remained intact as the ridiculing of human greed and stupidity continued to be the dominant characteristic. William Poel's production, on the other hand, emphasized the rapid plot development by use of a pseudo-Elizabethan stage, and he laid heavy stress on the elocution proving that the alchemical jargon was an essential element of the play and should not be cut because audiences could not understand it. The Ashland production (1961) also demonstrated the effectiveness of the pseudo-Elizabethan stage in presenting the fast moving comic action. It emphasized the farcical nature of the play and the repertory casting revealed the skill with which Jonson balanced his characters. The Old Vic production (1962), directed by Tyrone Guthrie, assumed that Jonson had to be modernized to be understood by contempory audiences, but his tampering with the text distorted and weakened the play in a number of ways. Finally, in the concluding chapter, an attempt has been made to provide an analysis of The Alchemist based on insights provided by the preceding material in an effort to show that literary criticism of a play is often closely linked with theatrical experience. The complex interweaving of subplot with subplot, the finely etched characters, the colourful language, the important themes—all are as theatrically effective today as they were in 1610. The stage history of The Alchemist demonstrates that it is one of Ben Jonson's most popular plays, and the reasons are visibly evident upon investigation of some of the theatrical productions / Arts, Faculty of / English, Department of / Graduate

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Thesis--ha-Universiṭah ha-ʻivrit bi-Yerushalayim. / Added t.p.: The thought of R. Zerahiah b. Isaac b. Shealtiel Hen & the Maimonidean-Tibbonian philosophy of the 13th century. Includes English summary. Bibliography: leaves 293-301.

Univ., Diss--Zürich.

<p>Blodtrycksmätning innehåller många olika moment och studiens syfte var att belysa aktuell forskning kring tre faktorer som kan påverka resultatet vid blodtrycksmätning. Faktorerna delades in i kategorierna kläder (med/utan), arm (höger/vänster), och korsade ben eller ej. För att uppnå studiens syfte ställdes tre frågor; Blir det någon skillnad om blodtrycket mäts med eller utan kläder under blodtrycksmanschetten? Spelar det någon roll om blodtrycket mäts i höger eller vänster arm? Hur påverkar korsade ben resultatet vid blodtrycksmätning? Svaren söktes i 12 vetenskapliga artiklar som granskades, analyserades och värderades vetenskapligt. Inom kategorin kläder påvisades inte resultatet någon skillnad i uppmätt blodtryck beroende på om armen var klädd eller ej. Resultatet visade att det fanns viss skillnad i uppmätt blodtryck mellan höger och vänster arm och därför bör blodtrycket mätas i båda. Resultatet visar även att blodtrycket ska mätas med icke korsade ben i knähöjd. En studie visade att blodtrycket inte steg med benen korsade i ankelhöjd. </p>