Much of what has been researched on Shona fiction has been limited to literature published before independence. The current research endeavours to assess the treatment of socio-economic issues as conveyed through fiction published since 1990. This fiction focuses on socio-economic issues in both pre-colonial and independent Zimbabwe. The study endeavours to establish if writers who focus on these issues in the pre-colonial era have been able to reclaim a complicated picture of the African pasts. It also discusses fiction that focuses on post-independence experiences; such as extent of the impact of empowerment brought about by independence, continued poverty among Africans, emancipation of the female being and the HIV and AIDS pandemic. Here, it strives to ascertain if the writers have identified the causes and offer meaningful solutions to these. The study observes that contemporary novelists on the Shona pasts have reclaimed more realistic ‘worlds’ when compared to their predecessors who have largely presented distorted images of these pasts. On the outcome of independence, two groups portray it as a total success and a total failure respectively, whilst the third and more successful group gives a balanced exposition. Fiction on poverty among contemporary Africans falls into two classes, namely rural and urban. The former still suffers from the heavy influence of colonial myths as it only highlights the effects of poverty without situating them in their tension-ridden historical context. The latter provides important sociological information on the plight of the characters but is lacking when it comes to suggesting ways of alleviating such poverty. On female empowerment, it emerges that while some writers are for women empowerment, others are against it. Women writers are better at explaining problems of women. However, both groups are still unable to identify the root cause of the incapacitation of women. On HIV and AIDS, whilst male writers demonstrate a wider social vision on the factors that disempower society against the spread and curbing of the virus, female authors still fall in the trap of blaming both men and Shona traditional customs. Overall, it emerges that contemporary Shona writers reveal contradictory modes in articulating these issues. / African Languages / Thesis (D. Litt et Phil. (African Languages))

Neonatal intensive care is an ambiguous and anxious medicine with troubling un/intended consequences. The causes and increasing prevalence of premature birth, available histories and the establishment hospital-based neonatology are presented, with a particular focus on American and Canadian contexts. The thesis traces neonatal medicine’s unlikely swerve through early-American freakshow culture, considers the influence of the eugenics movement, and spans decades of haphazard clinical experimentation with premature babies. Of particular interest is the complex nexus between neonatology and disability and what new technologies reveal about deep-rooted human desires and fears about life, death and disability. Incorporating statistical data, policy analysis and clinical trends with personal, parent and practitioner narratives leads to provocative ethical questions about neonatology’s growing powers. This thesis draws on critical disability theory and contemporary critical theories concerning technology, and builds towards a conception of disability that is separate from the medical paradigm, somewhat unorthodox, and certainly post conventional. / Graduate

The research I present within this thesis is a meaning analysis of contemporary shamanism for practitioners in the north of Norway and Sweden. I have used ethnographic research methods of observation, participation, conversations, interviews, context research and analysis of written texts. My aim has been to research the meaning of the sacred in the lives of contemporary shamanic practitioners, by using a theoretical framework from psychology of religion made by Paloutzian (2005). By using this frame I have focused on practitioners understanding of spiritual beliefs and ultimate concerns. As to view how these come forth in expressions of self-definition, values, goals, purposes and attitudes. My conclusions have been that contemporary shamanism is viewed as a spiritual understanding of the world that is expressing itself differently within cultural practices and geographical spaces. It is a worldview that is connecting people through shared beliefs and understandings. These understandings create strong values on how we should act with eachother, nature and our own self, as we are viewed as belonging to each other in a spiritual perspective. These values come in conflict with social and political structures built on other values and attitudes. Practitioners speak of a call for change in structures, the need of understanding our history and our belonging with eachother and nature for our own wellbeing and our world to survive. As some engage in social activism and other social engagements, others view their goal as to”walk in beauty”(Gaup 2007).

This thesis examines in depth the thought and ideas of the Egyptian intellectual Nasr Hamid Abu Zayd as a representative of modernist Isalmic thought. In unpacking and analysingAbu Zayd’s ideas, this thesis focuses on five major issues: shari‘a, Islam and politics, the Arab-Islamic heritage, history, and the issue of women’s rights. This thesis argues that Abu Zayd’s thought suffers from some of the same weaknesses he attacked in traditional and Islamist thought. By focusing on Abu Zayd I not only contribute to understanding a major intellectual in contemporary Islamic thought but also shed light on his wider intellectual family.

My thesis focuses on the perceptive afflictions caused by alteration of the normal biological functioning of sight and memory. These afflictions are related to the redefinition and disgregation of the classical and postclassical cinematographic characters, and affect cinematographic language, establishing a dialectical relation with the filmic image that contaminates our spectatorial perception. In the first chapter I propose a different reading of a few moments in film history, turning points in which a modification of the ordinary sensorial patterns has been introduced. From the German Expressionism to the late authorial experiments of the 60s, there is a sort of hidden history of film that passes through the continuous redefinition of the audience sensory activity. The different perspective upon broadly studied topics leads to the analysis of contemporary cinema: my thesis tries to investigate the reasons that led cinema to continually increase the representation of perceptive afflictions during the last years, and theses “affected” narratives of afflictions and dysfunctions have interesting effects upon so called “normal” perception of the reality surrounding us. The chapters 2 and 3 respectively analyze memory disorders and different dysfunctions of sight: these elements determine alterations in the ‘normal’ and ‘sensory’ perception of reality. They work as narrative factors changing the visual filmic instruments and redefining the role of the subject (and his/her uncertain definition of identity) in contemporary narratives that show how new technologies are profoundly transforming (and enhancing) the perceptive mechanisms involved in our spectatorial activity. In this work I analyze those films that are mostly committed to a clear and readable narration. My study primarily concentrates on American cinema of the last 30 years – with particular attention to popular Hollywood productions – because Hollywood has become the privileged ‘laboratory’ for the negotiation of gaze and images in the contemporary mediascape, while during the classical era experimental and avant-garde cinema were the “place” in which audience experienced the most important redefinitions of the boundaries between different types of mediated perception.

The main aim of this thesis is to investigate whether theories of career self-management, developed in the USA and Western countries, apply in cultures which are different, such as ascription cultures, giving an example of the Kingdom of Bahrain. Career self-management, here, is conceptualized based on independence and having control in organising career management through setting a strategy and collecting information about career opportunities to achieve personal goals. Although there is increasing emphasis on the ‘new’ career, very few studies offer systematic information about whether careers are perceived in the new or traditional form and which is more appropriate for people in developing countries (for example, the Kingdom of Bahrain). On the other hand, scholars argue that although there is a need for career self-management the notion, yet, lacks critical evaluation where the promoting or limiting factors to its enactment lack research, particularly in developing countries (for example, the Kingdom of Bahrain). The country chosen for study is the Kingdom of Bahrain because its culture is characterised as 'ascription' and no career self-management research has been conducted in this context. The study adopts a qualitative approach to uncover the research questions. The semi-structured interviews are designed to collect and analyse data for two organisations (i.e. EWA and GARMCO) where each organisation’s findings are compared with the other. To cover a fair population and sampling in a country small in size and population, two organisations in two sectors have been selected that are the main sectors in the Kingdom of Bahrain which consist of large workforce populations. Each organisation encompasses 19 managers from different departments and one Human Resources manager (total of 20 managers in each case). The forty managers from the two sectors are randomly selected, taking into consideration the managers’ occupations and functions.

<p>This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.</p> / Dissertation

The Christian doctrine of original sin has ever since the Reformation been a central part of Lutheran theological understandings of human beings. Therefore it is of vital importance to see how this doctrine can be understood in a plausible way, with regards to contemporary society, 500 years after Luther is said to have nailed his 95 thesis to the door of the church in Wittenberg. The present study explores what contemporary issues different interpretations of the doctrine must interact with, and suggest a way of evaluating the plausibility and Lutheran identity of such interpretations. Two expositions of the doctrine of original sin published by Lutheran theologians in the 2010s are then evaluated: Utanför paradiset by Eva-Lotta Grantén (ethicist, Uppsala) and In Adam’s Fall by Ian A. McFarland (professor of Divinity, Cambridge). Particularly four aspects of their interpretations are analysed: the relationship to human experience, the integration of contemporary science and culture, the internal coherence and their narrative’s Lutheran authenticity. Even though both interpretations have their flaws, they can largely be seen as both plausible and Lutheran. Grantén gives a wholly existential picture of the original sin, while McFarland tends to see it in ontological terms. In order to avoid the pitfalls in their interpretations, a further developed understanding of the doctrine is proposed, integrating both the ontological and existential aspects.

In 2001 when this research commenced, there was little understanding in Saudi Arabia of the opportunities digital art could provide for artists, how it could be integrated with or used instead of painting, and the effects the enlarged vocabulary could have in communicating difficult social issues. As a result, this study aimed at filling a gap in knowledge through reviewing contemporary Saudi art. This, in turn, helped me to understand the position of my practice. The study also aimed at developing a means of expression in which traditional art can be combined with digital media and showing how this combination provides a new direction for Saudi art by raising awareness in Saudi Arabia about complex issues. In addition, the study aimed at determining the acceptability of this new form of art to artistically literate Saudi artists through gathering audience’s reactions to the developed artefacts. This study comprised of several stages: discovering the state of art in Saudi Arabia and where it fits into the global stage; documenting my journey as an artist and understanding my practice; the creation of the installation and its reception, all of which was documented in a reflective journal. Through reflecting on my practice, I transformed my work from simple traditional pieces of art to more complex installations concerning everyday gender politics. I interviewed 20 practicing artists, noting that the majority of their work used traditional forms of art rather than digital art. A week-long exhibition on gender differences in Saudi Arabia was held in Jeddah, Saudi Arabia. The feedback from the exhibition showed that, although there is not a strong appreciation of digital art in Saudi Arabia, the audience was able to understand the different components of the installations and the underlying issues being portrayed. They were able to bring their own experiences to the situation and reflected on the installations accordingly. The study contributes to knowledge by providing a review of contemporary Saudi Artists as there is no significant literature that documents this in Saudi Arabia. It also contributes to knowledge by exploring and developing artefacts that incorporate different technologies and by showing that digital media and traditional art can be used together to articulate complex social issues arising in everyday Saudi life. Finally, it fills a gap in knowledge of how Saudi audiences engage with works that use a combination of traditional and new art to express such issues.

This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline of how fixed media has changed how people listen to music directly will be considered. By looking at these concepts an attempt is made to create a system which satisfies societies need for music which is not only commodified and easily approached, but also closes the qualitative gap between a static delivery medium and concert based output. This is approached within the context of contemporary classical music. Furthermore, by considering the development and fragmentation of the personal listening audience through technological developments, a methodology for the delivery of generative media to a range of devices will be investigated. A body of musical work will be created which attempts to realise these goals in a qualitative fashion. These works will span the development of the composition methodology, and the algorithmic methods covered. A conclusion based on the possibilities of each system with regard to its qualitative output will form the basis for evaluation. As this investigation is seated within the field of music, the musical output and composition methodology will be considered as the primary deciding factor of a system's feasibility. The contribution of this research to the field will be a methodology for the composition and production of algorithmic music in realtime, and a feasible method for the delivery of this music to a wide audience.