According to the firsthand account of James Brooke, Rajah of Sarawak, it appears that piracy in the state of British Malaya in the mid-1800s was community-driven and egalitarian, led by the interests of heroic figures like the Malayan pirate Si Rahman. These heroic figures share traits with Eric Hobsbawm’s social bandit, and in this case may be ascribed as social pirates. In contrast, late 20th-century and early 21st-century pirates in the region operate in loosely structured, hierarchical groups beholden to transnational criminal syndicates. Evidence suggests that contemporary pirates do not form the egalitarian communities of their colonial counterparts or play the role of ‘Robin Hood’ in their societies. Firsthand accounts of pirates from the modern-day pirate community on Batam Island suggest that the contemporary Southeast Asian pirate is an operative in the increasingly corporate interest of modern-day criminal organizations.

This thesis sets out to examine the making of femininity in hip-hop, with a special focus on the performances of three artists - Mykki Blanco, Angel Haze, and Brooke Candy - and their representations made through music videos and lyrics. The thesis is structured around critical femininity studies, and created through a somatechnics perspective. I am investigating how femininity and the feminine body is made through and in relation to technology and different expressions of race, class, and sexuality. By questioning how structures of femininity is made and re-made through a somatechnical perspective, this thesis offers alternatives to interpret feminine representations in hip-hop, and bases its conversation in both culture studies and critical femininity studies. In the paper‘s conclusion, questions regarding active feminist resistance in hip-hop are raised, with hope to widen the discussions about female identified artists and their performances in this specific discourse.

@font-face { font-family: "Calibri"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; } Foster Child is my attempt to bring to light my love for dolls as creatures to be created and imagined again and again. In terms of childhood play, toys function and exist on many levels. Each becomes a friend to some and, in some cases, a confidant. Dolls become more than a plastic play-thing and through the eyes of the individual take on a life of their own based upon the user’s own personal experiences. What I deem my creation will inherently change to someone else’s and even to my mood. I aim to offer the ability to create and blur the lines of these creations. My work is self-explorative and tells of the circumstances from my childhood I hold close.

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

Source: Masters Abstracts International, Volume: 46-01, page: 0343. Adviser: Nuria Homedes. Includes bibliographical references.

No description available.

O nosso objetivo foi de avaliar evolutivamente a perda da força muscular e das habilidades motoras, bem como a progressão da distribuição da fraqueza muscular nos diferentes segmentos dos membros superiores em pacientes com distrofia muscular de Duchenne em corticoterapia. Selecionamos seguintes testes de fácil aplicação: Teste de força Manual Muscular Escala Medical Research Council; Teste ABC provas de coordenação visual-motora e fatigabilidade provas n° 1, 3, 7 e 8; Grau funcional de Brooke; Índice de Barthel. Os testes foram aplicados em 40 pacientes com idades entre 5 e 15 anos, deambulantes e não deambulantes, os quais foram avaliados três vezes, com intervalos de seis meses entre cada avaliação. Os resultados mostraram que a progressão da distribuição da força muscular nos membros superiores ocorreu dos segmentos proximais para os distais em todos os pacientes e foi maior nos pacientes não deambulantes e com maior idade. O ato de escrever (pegada no lápis e/ou caneta) não foi influenciado pela progressão; no entanto, o aumento da fatigabilidade foi um fator limitante contribuindo para a redução do ritmo e da qualidade da escrita. O grau funcional de Brooke confirmou a variação das medidas de força muscular e nas atividades de vida diária o nível de dependência foi maior nos pacientes com maior idade, acontecendo nestes compensações funcionais importantes que lhes permitiram realizar a atividade de forma adaptada. / Our aim was to analyze the progression of the involvement of muscle strength and functional motor hability as well as the progression of the weakness pattern in the upper limbs of children with Duchenne muscular dystrophy who were receiving steroid therapy. We evaluated 40 patients with DMD, aged 5-15 years, by using the following simple tests: MRC score based on the upper limbs muscles; ABC tests number 1, 3, 7 and 8 for assessing visual motor coordination and fatigability; Brooke functional ability scale and modified Barthel index. All boys were evaluated every 6 months along a period of 18 months. The loss of muscular strength showed a proximal to distal progression and was greater in non- ambulant and in older patients. The act of writing (to hold pencil or pen) was not influenced by the progression; however, the fatigability increased and was a limiting factor for the speed and the quality of the hand writing. The Brooke functional ability scale confirmed the changes in the muscular strength. The performance in daily activities showed a greater dependence in the older patients who adopted functional compensations for performing the activities in an adapted way.

O nosso objetivo foi de avaliar evolutivamente a perda da força muscular e das habilidades motoras, bem como a progressão da distribuição da fraqueza muscular nos diferentes segmentos dos membros superiores em pacientes com distrofia muscular de Duchenne em corticoterapia. Selecionamos seguintes testes de fácil aplicação: Teste de força Manual Muscular Escala Medical Research Council; Teste ABC provas de coordenação visual-motora e fatigabilidade provas n° 1, 3, 7 e 8; Grau funcional de Brooke; Índice de Barthel. Os testes foram aplicados em 40 pacientes com idades entre 5 e 15 anos, deambulantes e não deambulantes, os quais foram avaliados três vezes, com intervalos de seis meses entre cada avaliação. Os resultados mostraram que a progressão da distribuição da força muscular nos membros superiores ocorreu dos segmentos proximais para os distais em todos os pacientes e foi maior nos pacientes não deambulantes e com maior idade. O ato de escrever (pegada no lápis e/ou caneta) não foi influenciado pela progressão; no entanto, o aumento da fatigabilidade foi um fator limitante contribuindo para a redução do ritmo e da qualidade da escrita. O grau funcional de Brooke confirmou a variação das medidas de força muscular e nas atividades de vida diária o nível de dependência foi maior nos pacientes com maior idade, acontecendo nestes compensações funcionais importantes que lhes permitiram realizar a atividade de forma adaptada. / Our aim was to analyze the progression of the involvement of muscle strength and functional motor hability as well as the progression of the weakness pattern in the upper limbs of children with Duchenne muscular dystrophy who were receiving steroid therapy. We evaluated 40 patients with DMD, aged 5-15 years, by using the following simple tests: MRC score based on the upper limbs muscles; ABC tests number 1, 3, 7 and 8 for assessing visual motor coordination and fatigability; Brooke functional ability scale and modified Barthel index. All boys were evaluated every 6 months along a period of 18 months. The loss of muscular strength showed a proximal to distal progression and was greater in non- ambulant and in older patients. The act of writing (to hold pencil or pen) was not influenced by the progression; however, the fatigability increased and was a limiting factor for the speed and the quality of the hand writing. The Brooke functional ability scale confirmed the changes in the muscular strength. The performance in daily activities showed a greater dependence in the older patients who adopted functional compensations for performing the activities in an adapted way.

The dissertation investigates the correlations among the development of general anthologies of Canadian literature, the Canadian canon, and visions of national identity. While literature anthologies are widely used in university classrooms, the influential role of the anthology in the critical study of literature has been largely overlooked, particularly in Canada. The dissertation begins with an analysis of the stages of development of general anthologies of Canadian literature, demonstrating that there are important links between dominant critical trends and the guiding interests of the various phases of anthology development and that anthologies both reflect and participate in moulding views of the nation and its literature. Focusing then upon five eighteenth- and nineteenth-century Canadian authors, the dissertation traces their treatment in anthologies and analyzes in detail the impact of stages of anthology development upon authors’ inclusion and presentation. The reception of Frances Brooke, John Richardson, William Kirby, Susanna Moodie, and Emily Pauline Johnson over a span of nearly 90 years is examined, and points of inclusion and exclusion are scrutinized to determine links with prevailing critical interests as well as canonical status. These case studies reveal the functions of anthologies, which include recovering overlooked authors, amending past oversights, reflecting new areas of critical inquiry, and preserving the national literary tradition. Their treatment also reveals the effect of larger critical concerns, such as alignment with dominant visions of the nation, considerations of genre, and reassessments of past views. The dissertation shows that the anthology is a carefully constructed, culturally valuable work that plays an important role in literary criticism and canon formation and is a genre worthy of careful scrutiny.