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The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

The primary research strategy of this study was to elicit meaningful answers from viewers by means of a focus-group procedure; this is a method associated with qualitative research (see Creswell, 1998; Berg & Lune, 2011) The group consisted of ten adults, whose visual literacy in terms of narrative films, was described as high (they frequently watch films at home, or in the theatre). The researcher acted as the moderator; and a set of semi-structured questions, based on meanings attached to camera-angle codes as defined by Mascelli, were answered by the participants. The codification scheme of Mascelli was applied to the unconventional camera angles in Avatar and The English Patient. These were compared with the viewers’ responses. Finally, the results were interpreted, in order to establish whether a meaningful relationship exists between the viewers’ responses and the interpretation of unconventional camera angles by such a seminal figure as Joseph V. Mascelli. The literature study focused on a media aesthetic explanation of cinematography, which included media aesthetics theory, framing, and composition, as well as the general codes and conventions relevant to cinematography. The literature overview includes a study of books, academic articles, internet sources, legislation, and training videos. A Nexus and EbscoHost search (Academic Search Premier and Jstor) was conducted on cinematography in general, and on camera angles in particular. Chapter 5 indicates the viewers’ overall interpretations of the unconventional camera angles used in Avatar and The English Patient. The graphs in Chapter 5 indicate that the viewers found the unconventional camera angles used in the films to represent the meaning of the shots appropriately, and that they understood why each unconventional camera angle had been used. The viewers’ responses correspond with the meanings of the unconventional camera angles, as stated by Mascelli. To ensure the effectiveness of a film and the accurate representation of the meanings of camera angles and camera sizes, the way it is described by Mascelli should ideally be taken into consideration by all future producers. Mascelli’s descriptions of camera angles and camera sizes, combined with the media aesthetics, as described by Zettl – when successfully applied – could lead to the production of a good quality film and images within the film. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

Uppsatsen undersöker diskurs kring det postmoderna byggnadskomplexet Bofills båge på Södermalm i Stockholm, som uppfördes mellan 1989 och 1992. Med utgångspunkt i teorier om kritisk diskursanalys undersöks utsagor i tre artiklar och ett TV-inslag som behandlar projektet, samt det sammanhang som utsagorna och projektet befann sig i. Allmän teoretisk utgångspunkt är Michel Foucaults iakttagelser kring diskurs. Thomas A. Markus och Deborah Camerons tillämpning för arkitekturdomänen av Norman Faircloughs teorier om kritisk diskursanalys är teoretiskt och metodologiskt ramverk för undersökningen. Uppsatsen undersöker i ett inledande kapitel sammanhanget ur både ett allmänt internationellt och specifikt svenskt perspektiv. I följande kapitel undersöks utsagor i de tre artiklarna och TV-inslaget. Artiklarna och TV-inslaget undersöks var och en till form och innehåll och med bakgrund i sammanhanget. En avslutande diskussion sammanfattar och diskuterar tidigare kapitel, samt relaterar utsagorna till varandra och till sammanhanget. Det förs en diskussion om den modernistiska arkitekturvokabulärens, den svenska traditionens och det politiska perspektivets betydelse för det sammanhang utsagorna befann sig i.

Syftet med följande undersökning var att analysera korrelationerna mellan valkampanjerna Britian Stronger In Europe och Vote Leave, Take Back Control i förhållande till retorikens tre element ethos (trovärdighet), logos (förnuft) och pathos (känslor). Utifrån en kvalitativ innehållsanalys har valkampanjernas dokument, rapporter, affischer, tal och videoklipp analyserats för att presentera korrelationerna faktorerna emellan. Undersökningen kommer fram till att valkampanjen Britian Stronger In Europe och dess kampanjmaterial gick att korrelera till samtliga retoriska element, medan Vote Leave-kampanjen enbart gick att korrelera till ethos- och pathos-elementen. Anledningen till detta berodde på att Vote Leave-kampanjen inte utgick från något tillförlitligt material för att styrka sitt ställningstagande i relation till Storbritanniens medlemskap i EU, vilket var ett krav för att uppfylla logos-elementets kännetecken. Detta till trots, lyckades Vote Leave-kampanjen gå segrande ur den brittiska folkomröstningen med 52 % av rösterna gentemot Stronger In-kampanjens 48 %.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

The diploma thesis named British reaction to the Arab Spring events in the context of United Kingdom's relations with Persian Gulf countries is concerned with an impact of the revolutionary events of 2011, known as the Arab Spring, on bilateral cooperation between United Kingdom on one side and Bahrain, Qatar, United Arab Emirates and Oman on the other. While using quantitative analysis approach, it depicts how the Persian Gulf developments were reflected by prominent British representatives and members of the Cameron coalition government. Since the government promised to approach foreign policy matters through a liberal-conservative lens and also planned to further deepen its relations with Persian Gulf countries, the Arab Spring events can be interpreted as a clear dilemma for British policymakers. This thesis aims to answer whether such dilemma forced the government officials to re-asses the traditionally warm attitudes towards Persian Gulf and additionally, it demonstrates which spheres of their cooperation were threatened the most. Firstly, the bilateral relations between United Kingdom and Persian Gulf countries between 1971 and 2010 are described. Then, the focus moves towards the Cameron coalition government and its foreign- policy aims. In its final part, the thesis focuses on British...