The thesis attempts to provide a chronological analysis of Lagden's colonial career between 1877 and 1907. The youngest son of a parish priest, Lagden received limited formal education and no military training. By a fortuitous set of circumstances, he was able, as a man on the spot, to attain high ranking posts in colonial administration. As a young man, he acquired considerable experience in the Transvaal, Egypt and the Gold Coast. However, blatant disobedience led to his dismissal from Colonial service. Fortunately for Lagden, Marshal Clarke, newly appointed Resident Commissioner of Basutoland, insisted on Lagden being appointed to his staff. Except for a brief stint in Swaziland, Lagden remained in Basutoland until 1900. With Clarke, Lagden played a prominent role in the implementation of the Imperial policy of securing the support of the Koena chiefs by allowing them to retain and consolidate their power and influence. Lagden became Resident Commissioner in Basutoland when Clarke was transferred to Zululand. He continued established policies and championed the Basotho cause by opposing the opening of Basutoland to prospectors and by stressing the industrious habits of the Basotho. His tactful and energetic handling of the rinderpest crisis reduced dramatic repercussions amongst the Basotho and enabled cooperative Koena chiefs to increase their economic and political leverage. Despite his reservations over Basotho loyalty, Lagden emerged from the South African War with an enhanced reputation as the Basotho remained loyal and energetically participated in the Imperial war effort. Largely because of his Basutoland experience, Lagden was appointed the Transvaal Commissioner of Native Affairs in 1901. He was responsible for regulating African labour supplies for the mines and delineation of African locations. His failure to procure sufficient labour and his defence of African rights earned Lagden much abusive settler condemnation. As chairman of the South African Native Affairs Commission, Lagden produced an uninspiring report conditioned by the labour shortage and his personal distaste for decisive action. Nevertheless, its advocacy of political and territorial segregation influenced successive Union governments.

No description available.

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University in partial fulfillment for the Master’s in Music degree. It contains theoretical, historical, and rehearsal analyses for the Graduate Conducting Recital of Edward Garret Stein. The recital was performed by members of the Kansas State University Symphony Band in McCain Auditorium on Wednesday, March 13, 2007. The concert was intended to be an exploration of three important and diverse chamber works for winds. Selections included Pantomime by Pierre Mercure, Tafelmusik by Godfrey Ridout, and From Chaos to the Birth of a Dancing Star by Allan Gordon Bell. Employed in this report are the analytical methods based on the Blocher/Miles Unit Study from the Teaching Music through Performance in Band series as well as the Tracz concept of macro-micro score analysis.

Magister Artium - MA / The rich corpus of postcolonial scholarly engagement on indigenous intermediaries, interpreters, clerks and assistants has a made a strong argument for the active participation of African agents in social scientific knowledge production on Africa. This literature has highlighted the complex and negotiated nature of fieldwork in African anthropology. While this literature has begun to deepen our understanding of the knowledge work of anthropologists and their research assistants, it has not adequately explored the relationship between anthropologists and informants in what one scholar has recently called ‘a triangulation of relationships’ between the anthropologist, the assistant and the informant. This research project proposes to explore these relationships in a detailed case study: that of the British anthropologist Godfrey Wilson (1908–1944), his interpreter Zachariah Mawere, and three primary informants, during three years of pioneering research into the effects of migrant labour at Broken Hill, Northern Rhodesia (Zambia) between 1938 and 1941. Using a close textual reading and detailed analysis of Wilsons Bemba and English fieldnotes held in the Godfrey and Monica Wilson collection at the University of Cape Town’s African Studies Library, the study will apply a micro-historical and biographical approach. It will seek to reconstruct the biographies and anthropological contributions of one interpreter and three central Bemba informants in order to explore the micro-politics of knowledge production in African anthropology.

No description available.

The present dissertation concerns cognitive psychology--theories about the nature and mechanism of perception and thought--during the High Middle Ages (1250-1350). Many of the issues at the heart of philosophy of mind today--intentionality, mental representation, the active/passive nature of perception--were also the subject of intense investigation during this period. I provide an analysis of these debates with a special focus on Durand of St.-Pourçain, a contemporary of John Duns Scotus and William of Ockham. Durand was widely recognized as a leading philosopher until the advent of the early modern period, yet his views have been largely neglected in the last century. The aim of my dissertation, then, is to provide a new understanding of Durand's cognitive psychology and to establish a better picture of developments in cognitive psychology during the period. Most philosophers in the High Middle Ages held, in one form or another, the thesis that most forms of cognition (thought, perception) involve the reception of the form of the object into the mind. Such forms in the mind explain what a given episode of cognition is about, its content. According to what has been called the conformality theory of content, the content of our mental states is fixed by this form in the mind. Durand rejects this thesis, and one of the primary theses that I pursue is that Durand replaces the conformality theory of content with a causal theory of content, according to which the content of our mental states is fixed by its cause. When I think about Felix and not Graycat, this is to be explained not by the fact that I have in my mind the form of Felix and not Graycat, but rather by the fact that Felix and not Graycat caused my thought. This is both a controversial interpretation and, indeed, a controversial theory. It is a controversial interpretation because Durand seems to reject the thesis that objects are the causes of our mental states. In the first half of the present dissertation, I argue that Durand does not reject this thesis but he rejects another nearby thesis: that objects as causes give to us 'forms'. On Durand's view, an object causes a mental state even though it does not give to us a new 'form'. In the second half of the dissertation I defend Durand's causal theory of content against salient objections to it.

The present dissertation concerns cognitive psychology--theories about the nature and mechanism of perception and thought--during the High Middle Ages (1250-1350). Many of the issues at the heart of philosophy of mind today--intentionality, mental representation, the active/passive nature of perception--were also the subject of intense investigation during this period. I provide an analysis of these debates with a special focus on Durand of St.-Pourçain, a contemporary of John Duns Scotus and William of Ockham. Durand was widely recognized as a leading philosopher until the advent of the early modern period, yet his views have been largely neglected in the last century. The aim of my dissertation, then, is to provide a new understanding of Durand's cognitive psychology and to establish a better picture of developments in cognitive psychology during the period. Most philosophers in the High Middle Ages held, in one form or another, the thesis that most forms of cognition (thought, perception) involve the reception of the form of the object into the mind. Such forms in the mind explain what a given episode of cognition is about, its content. According to what has been called the conformality theory of content, the content of our mental states is fixed by this form in the mind. Durand rejects this thesis, and one of the primary theses that I pursue is that Durand replaces the conformality theory of content with a causal theory of content, according to which the content of our mental states is fixed by its cause. When I think about Felix and not Graycat, this is to be explained not by the fact that I have in my mind the form of Felix and not Graycat, but rather by the fact that Felix and not Graycat caused my thought. This is both a controversial interpretation and, indeed, a controversial theory. It is a controversial interpretation because Durand seems to reject the thesis that objects are the causes of our mental states. In the first half of the present dissertation, I argue that Durand does not reject this thesis but he rejects another nearby thesis: that objects as causes give to us 'forms'. On Durand's view, an object causes a mental state even though it does not give to us a new 'form'. In the second half of the dissertation I defend Durand's causal theory of content against salient objections to it.

Este documento de tesis aborda como problema de investigación la interacción de la música y la imagen en la construcción del significado del film documental Koyaanisqatsi (1982). En nuestra investigación, Koyaanisqatsi representa un problema de investigación en sí mismo en tanto, por un lado, tiene cualidades poco convencionales o experimentales que corresponden a un modo poético de realización documental y, por otro lado, el film deja abierta la posibilidad a múltiples interpretaciones pues, como indica su director, Godfrey Reggio, depende del espectador encontrar el significado del film y completarlo. La música y la imagen representan los principales estímulos que componen este film, de manera que nuestra aproximación metodológica consiste en la observación, escucha y análisis de los componentes constitutivos de la música y la imagen del film con la finalidad de comprender cómo éstas, en su combinación, o interacción, construyen el significado de la obra audiovisual. La investigación revela relaciones entre música e imagen cuyas características construyen en el film la representación audiovisual de una sociedad contemporánea occidental en decadencia y autodestrucción, donde el ser humano, inmerso en un mundo moderno y tecnológico, se muestra alienado y deshumanizado, en oposición a un mundo ancestral de quietud, contemplación y equilibrio con la naturaleza majestuosa que el film pone en vigencia. / This thesis addresses as a research problem the interaction of music and image in building the meaning of documentary film Koyaanisqatsi (1982). In our research, Koyaanisqatsi is a problem in itself because, on one hand, it has experimental and non conventional qualities that belong to a poetic mode of documentary filmmaking and, on the other hand, this film leaves the open door for multiple interpretations by the audience as film director, Godfrey Reggio, refers that it’s up to the viewer to find and fulfill its meaning. Music and image are the main stimuli that take part on this film, so our methodological approach involves observing, listening and analyzing the main components of both music and image in the film pursuing to comprehend how their combination or interaction build the film meaning. The research reveals music and image relationships and characteristics that build and describe an audiovisual representation of the decline and self-destruction of a contemporary and occidental society in which humans, surrounded by a technological world, are alienated and dehumanized as opposed to an ancestral, natural, still, and well-balanced world that this film validates and legitimaze.

No description available.

This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).