This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it was a disembodied enterprise unattached to the whims of its audience or the particularities of its author—were antithetical to the experiences of women writers, whose work was often read in the context of their gendered bodies. My study proceeds chronologically, reading the literary dramas of five writers—George Eliot, Augusta Webster, Katharine Bradley and Edith Emma Cooper (writing under the pseudonym “Michael Field”), and Elizabeth Robins—alongside changes in print practice and theatrical staging as well as evolving discourses about “literariness.” I argue that these women allude to theatrical performance in the text to show that the page always bears the physical traces of its authors and its audience. Each chapter blends book studies with performance studies, showing the way the form of a work invites particular responses from its readers. Overall, this project has two goals: one, to recover marginalized texts by women writers and revise narratives about the period to incorporate these pieces; and two, to span the scholarly chasm between Victorian poetry and drama and demonstrate, instead, the mutually constitutive relationship of these two art forms.

The purpose of this paper is to give a log-linear representation of a generalized Bradley-Terry (BT-) Model for paired comparisons which allows the incorporation of ties, order effects, concomitant variables for the objects and categorical subject specific covariates and interactions between all of them. An advantage of this approach is that standard software for fitting log-linear models, such as GLIM, can be used. The approach is exemplified by analysing data from an experiment concerning the ranking of European universities. (author's abstract) / Series: Forschungsberichte / Institut für Statistik

This paper provides an alternative methodology for the analysis of a set of Likert responses measured on a common attitudinal scale when the primary focus of interest is on the relative importance of items in the set. The method makes fewer assumptions about the distribution of the responses than the more usual approaches such as comparisons of means, MANOVA or ordinal data methods. The approach transforms the Likert responses into paired comparison responses between the items. The complete multivariate pattern of responses thus produced can be analysed by an appropriately reformulated paired comparison model. The dependency structure between item responses can also be modelled flexibly. The advantage of this approach is that sets of Likert responses can be analysed simultaneously within the Generalized Linear Model framework, providing standard likelihood based inference for model selection. This method is applied to a recent international survey on the importance of environmental problems. (author's abstract) / Series: Research Report Series / Department of Statistics and Mathematics

This paper develops a new approach to the analysis of longitudinal paired comparison data, where comparisons of the same objects by the same judges are made on more than one occasion. As an alternative to other recent approaches to such data, which are based on Kalman filter- ing, our approach treats the problem as one of multivariate multinomial data, allowing dependence terms between comparisons over time to be incorporated. The resulting model can be fitted as a Poisson log-linear model and has parallels with the quadratic binary exponential distribution of Cox. An example from the British Household Panel Survey illustrates the approach. (author´s abstract) / Series: Research Report Series / Department of Statistics and Mathematics

The growing negative impacts of non-biodegradable plastics derived from non-renewable materials have created increasing interest throughout the world for new materials that are both biodegradable and renewable, that can be combined with or replace traditional plastics. Plant-based thermoplastic starch (TPS), a promising alternative material to traditional petroleum based resin, is both biodegradable and renewable and has great potential for use in plastic manufacturing processes. Two major obstacles that prevent more widespread use of TPS include; TPS base material, which is typically manufactured in a flake or powder, is incompatible with standard plastics production equipment that require pelletized resin, the second reason is that TPS is difficult to mix with standard plastic materials such as High Density Polyethylene (HDPE). BiologiQ of Blackfoot Idaho through a unique manufacturing process has created a new type of TPS called EcoStarch™ Resin (ESR) that overcomes these two obstacles the material can be both pelletized and combined with various standard base plastics such as HDPE. This study evaluated and characterized the processability materials properties of ESR and HDPE blends in the Extrusion Blow Molding (EBM) by measuring wall thickness, tensile strength, tensile elongation, modulus of elongation and formability compared to 100% HDPE bottles. As the ESR content increased the uniformity of the wall thickness increased. The tensile strength increased from ESR content of 30% to 50% while the elongation decreased. Bottles were successfully extrusion blow molded with ESR content of 50%.

This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello

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This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event.

De nos jours, les propriétés sensorielles des matériaux font l'objet d'une attention croissante tant au point de vue hédonique qu'utilitaire. Notre thèse s'inscrit dans une recherche visant à établir les bases d'une approche métrologique instrumentale permettant la caractérisation des similarités visuelles entre textures «de même nature». Notre objectif spécifique a été de faire le lien entre une évaluation métrologique instrumentale des textures «lumineuses» produites par des surfaces texturées colorées et une évaluation basée sur des tests psychophysiques réalisés par des observateurs humains. Ces tests psychophysiques ont consisté en des épreuves de classement d'images texturées colorées biphasées suivant un critère de contraste visuel. Les données de classement collectées ont été analysées à l'aide de deux approches statistiques. La première considère l'ajustement d'un modèle factoriel à effets fixes aux statistiques des rangs moyens. La seconde approche est basée sur l'ajustement aux données d'une extension du modèle de Mallows-Bradley-Terry (MBT), sous-classe du modèle de Babington Smith. L'estimation des paramètres des modèles de MBT par le maximum de vraisemblance a été résolue à l'aide d'algorithmes MM et une évaluation par une méthode MCMC du vecteur des scores. Un test d'hypothèse basé sur une statistique du rapport de vraisemblance évaluée par une méthode de Monte Carlo a été proposé pour décider entre l'hypothèse de discernabilité perceptive des textures et celle de non discernabilité. Les résultats obtenus par les deux approches montrent que la qualité sensorielle de contraste visuel se présente bien comme un continuum sensoriel que l'on peut quantifier en construisant perceptivement une échelle de discernabilité.

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