No description available.

The theol)' that informs this study is Systemic Functional linguistic theory, The major focus of this study is on the description of the register of play-by-play talk. The data for this study was collected by recording onto cassette tapes several Australian Rugby League commentaries from different radio stations. The data primarily used in this study are two Australian Rugby League radio commentaries: one from the commercial radio station, 2GB, and the other from the Australian national radio station, ABC. Both commentaries took place on Sunday afternoon on the 14th July, 1996, and they focus on the same event: the Rugby League professional match between the North Sydney Bears and the Sydney City Roosters. The research focuses on the language which is used to relay the game, 'play-by-play talk'. Although it is generdlly agreed that there is such a thing as 'play-by-play talk', there is scant research into the specific characteristics of this talk, or into the contextual features which motivate it. Thus, in order to study this specific variety of language, the study begins by making a broad-based description of the textual and material environment of play-by-play talk. It is argued that the textual environment consists of two language activities: the 'Sunday Afternoon Sports Broadcast' and the 'commentary'. The description focuses on the linguistic frames that distinguish these two language activities from those which precede and follow them. The study then constructs an operational definition of play-by-play talk and applies some linguistic criteria to the language of the commentary in order to extract language which satisfies this definition. To this end, the linguistic criterion which proves to be most useful is the successive-temporal conjunction and now. Play-by-play talk is found to be a monologic language variety which enters the talk of the commentary at different points in time and for varying time periods. Once play-by-play talk is extracted from the talk of the commentary, it is analysed from three different grammatical perspectives: the interpersonal, the experiential and the textual. The results of the analyses are quantified and displayed in a series of tables and diagrams, and the patterns of choices which emerge from the analyses are discussed in terms of a description of the register properties of play-by-play talk and in terms of the kind of contextual information construed. Chapters Five, Six and Seven end with a summary profile of the grammatical choices along with a summary of the kind of contextual information these choices construe. Some of the findings from this study are that the subject matter of play-by-play talk centres on a very limited set of activities and participants; that individuals are prioritised; that the activities of the game of Rugby League are construed as active, aggressive, and often violent in nature; that there are few grammatica1ised attitudes; and that the text is structured in a way that mirrors the actions which it is encoding. The approach and findings of this research highlight some ways in which a register may be located, analysed and profiled.

No description available.

Ulwaluko (the subject of this study) is a Xhosa male initiation or rite of passage normally marked by elaborate ritual ceremonies and authenticated by circumcision. Human longing for ritual is deep, and in our contemporary culture is often frustrated. As an artist working in such an environment, my close association with these 'visible experiences' or contradictions in life has been the source and stimulus of my creative impulse. Ulwaluko is very close to me and an intensely personal aspect of my history and experience. It forms part of my identity and I ascertain very little distance between it and myself, if there can be any. It should be understood that this study is not an anthropological analysis of the Xhosa society and their cultural practices. Rather, it is a combination of autobiography and social commentary in which emphasis on first-hand experience is of primary importance for better understanding of the subject studied. This subjective experience also provides the basis, both conceptual and emotional, of the theoretical and creative process of this body of work. This project premises itself on the contentious issues around ulwaluko as practised by the Xhosa society, with particular reference to communities in Engcobo and Cape Town, and the tension in the creative work is rooted in the conflict and debate around this subject. An attempt is made to examine the impact of colonialism in the displacing and disrupting of this traditional Xhosa cultural practice. Basically, this study is a visual response to and an exploration of the tensions and conflicts that arise from the practice of ulwaluko and its representation in contemporary South Africa. And more important, it is a reflection of the struggle and the affirmation of the self in relation to my work as an artist. However, due to the complexity and sensitivity of this subject, I cannot generalise my understanding and experience of ulwaluko to be that of every Xhosa. The Xhosa people are not a homogeneous group as has been often perceived and discussed in various European discourses that are now under severe criticism by contemporary theorists such as Edward Said. It is a fact that people are different individuals, with dissimilar life experiences. Explaining other people's beliefs and feelings in an objective manner can seem to ignore or does not necessarily take into account, the personal value of emotions, of the joys and sorrows, and even of the transformation of the participants in the practice analysed. In recent years the practice and the visual representation of ulwaluko in South African society, by both 'insiders' and 'outsiders, has stirred concerns and provoked heated moral debates.

This thesis discusses the social and economic conditions which influenced the novels of William Godwin, and looks at his works and their criticisms of the conditions of the age.

The replacement of traditional seriatim opinions with an "Opinion of the Court," offers what initially appears to be an interesting but seemingly trivial characteristic of American law. In fact, this departure from convention represents an exceptional shift in the behavioral actions and expectations of American appellate judges. This switch in the method of judicial communication is an exemplar for the belief that institutions, and the rules that regulate them, matter seriously. Failure to appreciate and insist upon "sincerity" as a distinctive judicial trait has impoverished historical and structural approaches to constitutional argument and has aided in the conflation of judges and legislators. Moreover, the initial demotion of sincerity as a cardinal value of American judicial power was an amendment of constitutional structure of rather dubious motive and utter lack of process. Anglo-American history reveals that judges performing their appellate functions consciously and consistently attended to a sincere, individual execution of their duty. Furthermore, an exploration of important Anglo-American jurisprudence reveals that sincerity is a presupposed though often neglected judicial virtue. This tripartite argument also includes a review of important constitutional theory and legal commentary regarding judicial communication. In the broadest sense, I endeavor to explain that the nature of law is inextricably related to its delivery and that the Constitution admits of a conversing, plurally-voiced dynamic of communication. These sorts of inquiries are true to American founding beliefs that a new science of politics can apply to old problems of governance. These arguments also highlight a guiding principle for any judiciary functioning in a constitutional democracy: public communication is critical for any consenting polity to discern the worth and import of the rule of law.

In this line by line commentary l have attempted to discuss all matters textual and linguistic on which a reader might resort to a commentary for aid. There is, naturally, a pronounced emphasis on textual criticism; literary comment is interwoven with my arguments as the play unfolds. I have endeavoured to cite Greek with sufficient generosity to enable the reader to form a different judgement from my own from the material I have furnished. Considerable space has also been devoted to matters mythological and religious, as the nature of the play demands. I conclude with an Endnote on the marginal annotations found in L. Three appendices follow: on the question of scenery, on alliteration in ancient poetry and poetic theory. and on a textual problem in the prologue to Euripides' Phrixus. As no new evidence has emerged either to enhance our knowledge of the paradosis or to indicate the date and general background of the play, I would prefer at this stage to direct the reader to A.S.Owen's introduction to his Clarendon edition of 1939 rather than burden this work further with a formal introduction. I conclude with a general bibliography of works often cited.

<p> A commentary on Ars Amatoria 1.1-504 is supplemented by excursuses on the composition and structure of the work, Ovid's use of mythological exempla and his attitude towards Augustus in his pre-exilic poetry.</p> / Thesis / Doctor of Philosophy (PhD)

In the last half-century, a number of artists have chosen to abandon notions of good taste, skill, and aesthetics in the field of drawing in order to investigate and critique our social and cultural landscape. Two very different approaches have been taken to accomplish this – the use of humor, borrowing from the format of comics; and confessional art, in which the artist ostensibly lays themselves bare in order to act as a mirror for the viewer. In my senior thesis project, I explored these two forms of drawing in relation to my own life and identified institutional (within the Claremont Colleges) and larger cultural threads within my work.

This thesis will probe selected Arabic commentary material on the Hippocratic Aphorisms. The aim is, first, to shed light on the development of Arabic medical commentary; second, to draw attention to issues of continuity and change in medical ideas and debates; third, to shed light on wider debates about women and medicine in the medieval world. Due to limitations on space, the main focus is on the second point. The sample of Arabic commentary material investigated here relates to Aph. 5. 31, Aph. 5. 35 and Aph. 5. 48. The material is situated within the wider context of the Islamic scientific commentary genre. The Arabic material is taken from the preliminary online edition now available due to the culmination of the Project on the Hippocratic Aphorisms (2012-2017) led by Peter Pormann at the University of Manchester.