This dissertation is an investigation of the status and the extent to which the Arabic language is put to use in the Durban Metropolitan Area in the KwaZulu-Natal Province of South Africa. A quantitative socio-linguistic overview of the Arabic language at the grassroots level is the main aim of this study. The study examines the Arabic language by placing it against a wide frame of reference and compels the researcher to place it in a broader comparative perspective with other dominant languages in Durban. As we have reached a decade of explicit vocabulary development in linguistics, it seems appropriate to reflect on the power of language to express modern discourse in demonstrating the parameters in which the Arabic language is maintained in Durban. When South Africa became a fully independent democratic state in 1994, all languages were liberated. The challenge for Arabic language practice and policy makes for a wider frame of reference for the promotion of the Arabic language in emancipation. The phenomenon that is relevant to the study is researched for the particular situation under investigation. Within this framework the data collection techniques, namely, interviewing, observation and questionnaires were used to gather information. While the secondary data was taken from research done by Arabic scholars and Arabic language promoters, the primary data was gathered from residents of Durban. The primary data was then analyzed and the extent to which the Arabic language is put to use is presented. / Thesis (M.A.) - University of KwaZulu-Natal, Durban, 2007.

This thesis entitled "Le discours francais sur l'Amerique latine revolutionnaire (1950--1985)" proposes to analyze about thirty texts published in France during the mentioned period in order to extract the primary axis around which the hexagonal representations and discourses which examine Latin America articulate themselves. The corpus gathers chiefly novels and political essays, but it also includes anthropological essays, journalistic commentaries and testimonies. This is a study that relies on the theory of social discourse and on imagology. / This investigation, which perceives itself as an overview of the images elaborated by the French social discourse on Latin America, examines closely the historical moments when there are determinant discursive mutations. Therefore, from 1950 to 1961, a first manner of apprehending the Latin American other is identified. This period was described as a moment of transition during which the French discourse goes from a discursive frame which emphasizes on the theme of nature to a discursive frame which privileges the power relations between social agents. From 1962 to 1974, Latin America becomes for the French writers a geographical region upon which one pours off revolutionary aspirations. The axioms of third worldism, primary discursive formation enhanced by this period, run through the whole of the texts at various degrees. Also, this thesis aims to reveal the figures and spaces which emerge from this whole of contradictory representations. From 1975 to 1985, one witnesses the decomposition of the discursive formations and representations established during the two previous decades. Indeed, several discursive formations during these ten years question not only third worldism and its revolutionary impulses, but also the function of the intellectual. / On a more general basis, this study examines the history of ideas in France from 1950 to 1985. One of its implicit goals is to describe the rules which diversify, give coherence, integrate, exclude, and legitimate a "new" idea in the French social discourse.

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In this study of Mariano Jose de Larra's Articulos, it will be shown why Larra was not able to achieve his goal of improving the general lack of culture in Spain, which was, according to him, the biggest obstacle to progress. Larra, a liberal writer, wanted to help Spain become a liberal country, if necessary by revolution, which was to be brought about by his writings. He chose to write newspaper articles, a then still very new medium. Although celebrated for his biting satire, Larra's advice was not heeded. / The reasons for this are to be found in the special circumstances of the liberalization of Spain as well as personal circumstances of Larra, which will be addressed in the paper.

The phenomenon of princely and scientific collections that proliferated in Europe during the sixteenth and seventeenth centuries has become an important focus for modern historical analysis. These collections provide a microcosm of contemporary political, economic and philosophical ideas, often characterized by geographical and cultural differences. The mid-seventeenth century Kunst- and Wunderkammer studied here, instituted by the archbishops of Salzburg, brings forward themes sometimes neglected in the literature. The archbishops' collection was part of broader efforts to reinvent the city of Salzburg as a representation of both sacred and secular authority. Strategies for significant display were derived from religious and imperial ritual, drawing on the potential of objects as signifiers. In this context, I also examine some of the debates within the literature on princely and scientific collections, where the study of wonder and science begins to merge in cross-disciplinary scholarship. Finally, I highlight the role of transformation and materiality in these collections to argue that the act of collecting objects and the act of making were imbricated in the process of self-definition. Within themes of technology and process, I investigate the pursuit of creating Kunstkammer objects, as well as the business of their display and use in diplomacy.

Blanche DuBois marked the most significant literary achievement of Tennessee Williams. Though her rape functions dramatically as a powerful climax which has troubled critics and bothered audiences, it is more a thematic culmination of Blanche's inability to sequester her sexuality. In fact, nearly everything Williams wrote prior to 1947 was building toward Blanche's rape; nearly everything that came after was a thematic attempt to resolve that issue left incomplete in her character--the southern dialectic, the preponderant theme and unsolved riddle of Williams's long career.The southern dialectic--a model developed from the joint theories of southern historian W. J. Cash, theorist Allen Tate, novelist William Faulkner, literary critic C. Hugh Holman, and playwright Tennessee Williams--is the internalization of opposites virulent in human nature which seeks to synthesize its disparate traits. Williams juxtaposed onto most of his characters this metaphysical debate between antinomies, most notably flesh and spirit, past and present, and miscegenation. Although he explored each with precise attention to balance, Williams returnedto flesh and spirit and its teleological (as opposed to theological) assessment of the human condition as his thematic touchstone.From his first performed play in 1935 to his last works of-the Eighties, Williams harnessed the dialectic in himself --between his innate desire for flesh and his learned duties to spirit--and generated from it the art that was as much his career as it was his exercise in psychotherapy. By placing both traits in his characters and dramatizing their interaction through two key images--the cat and the bird, whose own timeless battle reflected the same attraction/ repulsion nexus of the flesh-spirit dialectic--Williams could search for the one-androgynous hero who, like Christ, would successfully integrate them.Androgyny, for Williams, was not strictly hermaphroditism, though he was drawn to the asexual, but the ideal state of human existence--the integration of paradoxically repellent and attractive forces created by the dialectic. Though his Grail-like pursuit led him to discover different ways to end or survive this dialectic (denial, then death, then endurance), Williams's search for his androgynous hero would ultimately be in vain. / Department of English

This is the documentation of my thesis in which the project designed was a cultural center for Indianapolis, Indiana. Large theater, medium size theater, an amphitheater, a gallery, shops and studios, exhibition areas, restaurants, and parking structure.The cultural center is proposed for the part of white river park. It is bounded by Washington Street on the south, White River on the west, Blake street on the north, and the Blackford street on the east.The site chosen was of particular importance, since the activities that would take place in the cultural center would attract more people to white river park.The Indianapolis cultural center would act as a catalyst for the cultural development of the Indiana State. / Department of Architecture

The purpose of this thesis has been to use tragedy to discover conceptions about mental and emotional processes reflected in contemporary language which, though it may not have been used throughout the society in the particular forms tragedy uses, was understood, and felt to be powerful, by the contemporary audiences of the plays. Through detailed examination of the type of imagery used in thinking about the mind, various inferences have been made about conceptions of the sources of harmful emotion and about the ways in which men judge each other, how they sympathize with each other, and how far they can understand each other's private feelings, in a society which may have been in these respects very different from our own. The material has been confined to tragedy - though parallels from other poets and evidence of particular beliefs and theories have been sought in archaeological data, medicine, philosophy and history - since tragedy, is for two reasons, particularly suitable for a study of this kind. First, the process of watching a tragedy involves observation aid evaluation of other people from their actions; the audience is invited to react to and ponder the implications of different 'serious actions' the imitation of which is included in Aristotle's definition of tragedy. Secondly, tragedy is a musical event which offers in different musical patterns the expression and resolution of extreme emotions; and one of the main points to emerge in this thesis is Greek fears of unrhythmical and uncontrollable emotion. The images associated with emotion are those of savage daemons and wild beasts. As on the mythological level Orpheus could control wild beasts by the power of his music, on the social and dramatic level music, which imposes order, rhythm and harmony on those listening to it and performing it, can calm extreme emotions in ritual and in tragedy, of which it is an essential part. Chapter One: In the Mind. This chapter examines statements about the composition of the mind in tragedy: the different mental organs, located deep within the hitman body, their movement in relation to each other, and their 'darkness'. The images which express the activity of the mind disturbed include: shaking and trembling, filling, swelling and inflammation; wave, storms, wind and breath. The dreams that visit the mind are imagined as coming out of the earth; but the 'muchos' of the mind is implcitly compared to the underground darkness in which the blind seer lives. The mind itself is imagined to be 'prophetic'. The imagery of wave and storm, drawn from the world outside to express feelings within the mind, suggests the easy association of the components of the natural world and the components of the mind; an association demonstrated in the theories of Presocratics and Hippocratic writers. Finally, the supreme fear is fear of the mind 'adrift': the motif of the 'wandering mind' is reflected in the geographical wandering of mad figures in myth. Their activities and feelings are expressed in images and pursuit: of the goad, yoke, and whip. Chapter Two: Into the Mind. This chapter explores the outside sources of mental harm. Passions that trouble the mind are expressed and described with the help of imagery, and the imagery draws mainly on the outside world: on the daemons of cult and fantasy, and on the wild animals who endanger man physically. Part A considers the shapes of persecution, culturally-determined, which provide models for the individual imagination. The Olympian gods, their winged weapons; the Erinyes, their goads and love of blood; the Gorgon, her piercing eye; the Sphinx, her claws and dangerous song; the animals, the 'death-bringers', particularly the bull, horse, dog, lion and snake. Part B examines the images of emotion themselves: wings and piercing weapons; rays of the eye; driving and blows; hunting and ambush; wrestling and capture (human imagery); biting and eating (animal imagery); and imagery from the natural world, wind, wave, fire, storm. Chapter Three: Into And Out Of The Mind. The material studied so far suggests a world-view which emphasizes the external source of human emotion and pain. But some images, some forms of theory, some direct atatements in tragedy (and elsewhere at this period) suggests that another world-view also operated within the imagination; that the source of human emotion and disease lay within man himself. For various reasons, not least emotional comfort, this view is not canvassed as widely, nor does it affect language and belief as powerfully, as the first. There are areas of experience, however, where it is important, and particularly in ideas about madness and demonic possession. Madness in tragedy is presented as a temporary event which passes and leaves the man 'himself' again. The case for belief in demonic possession at this period, which has been challenged recently, is reconsidered; and the implications of demonic possession and inspiration are discussed, of the external and internal sources of power good and bad. Examples are collected of the recognition in tragedy of the projection process, lay which the mind projects its own feelings, particularly the dangerous ones, outside into the world. The psychoanalytic concept of projection is outlined, and the role it has played in psychologically-oriented medical history: particularly in Paracelsus and Freud. Fifth-century medical theories are examined: theories of the origin of the physical and mental disease. These invoke both external sources of harm, and internal ones. In medicine and poetry alike the two views, though apparently paradoxical, operate in a complementary way, since belief is shifting and inconstant in societies and individuals alike. There are parallels in Anthropological material for the complementary relation of inconsistent world views: and the tendency of theorists has always been to divide mental functioning into two types (compare theories which divide mental structures, and divide them into three). Chapter Four: Out Of The Mind. This chapter considers the actions that express emotion. These are of two kinds, the individual actions of which tragedy is composed (considered in chapter five), and involuntary and ritualized actions, which may have sons universal physiological basis but which are also culturally determined. The natural process of observation - 'opsis' - is replaced in tragedy by words (eg 'Why are you pale?'). Physical reactions to emotion mentioned in tragedy are collected, and deductions made by observers about the internal feelings which produce such reactions. Parallels from medicine are considered: the importance of observation in medical theory and practice has given us a picture of the physical symptoms of physical disease which resemble the physical symptoms of emotion recorded in tragedy. There are dangers in taking physical symptoms recorded in poetry too literally (illustrated by a study of Sappho fr. 31), but though the poetic expression of such symptoms is affected by dictates of convention and genre, it does provide evidence for the tendencies of observation and reaction accepted in the whole society, if not for the single 'true' experience of a lyric poet. Tragedy: the main feature in physical symptoms of emotion and madness is a terrifying unrhythmical violence, which corresponds to the wild movements of the pursuing daemons in Chapter two, and the wild twisting movements in the images of the mind of Chapter one. The principle of projection, discussed in Chapter three, is working here, projecting the wild movements of the body of the man suffering intense emotions, onto both his imagined pursuers, and the unseen organs of his mind. Ritualized expression of emotion is an attempt to impose order, rhythm and control on this violence. The ritual expression of grief, the emotion which occurs most often in tragedy, tries to control emotion in two ways.

Between 1840 and the end of the 1850s, the French-Canadian elite dominating the political landscape was calling for "reformism". Besides belonging to the same generation, the members of this elite shared several features: they had accepted the Union, campaigned for responsible government and opposed annexation to the United States. This thesis aims to put forward some of the main ideas of this elite, and thereby of the reformist period. In the historiography of Canada and Quebec, the reformists are generally portrayed as founders, be it of a nation, a political regime or a bourgeois social order. To avoid teleological pitfalls, this thesis attempts to bring back, in context, the flavour of the thought of a particular time. / Reformist thinking was reconstituted from three kinds of sources: the reconstruction of debates in the legislative assembly, the French-Canadian "ministerial press" of the mid-nineteenth century, and the many reformist writings left by the figures under study, including government reports, personal diaries, public discussions and two novels. Attentive study of these sources reveals five main axes of thought, revolving around the time, politics, the economy, the social fabric and religious concerns. A chapter is devoted to each of these themes. / I argue that reformist thought has its own consistency, that is to say that it is distinct from the reactionary ultramontanism of Mgr Bourget and from the doctrinaire liberalism of "les rouges" and the "Institut canadien". It seeks to show that the reformists believed in the virtues of progress, of responsible government and of the free market, but that at the same time they were anxious about the future of their nationality. Their constant concern for the unity of their nationality and their will to establish, with the clergy, a more rigorous morality, able to "make people better", bears witness to this uneasiness about the future and a concern for preservation which typifies the conservative.

Concerned with mobilizing its populace for a sunnner swing tosocialism in 1961, the government of the U. A. R. was pressed toresolve its conflicts with the intellectuals. Muhammad HasanaynBaykal, through ms editorial. columns in al-Ahr8m endeavored tooutline the tensions which existed between Itthe revolutionary drivingforce" and the intellectuals and then to suggest ways to minimize themwithin the context of the country's developing pains. Although hisefforts appear appropriate for vlooing the technical intelligentsiaand the general public to the socialist schemes, casualties of hisdiscussion are a complete and profound interpretation of intellectualsin crisis and therefore the self-defined "truelt intellectual. Haykal'sremarks have been evaluated against a background of developments inthe U. A. R. especially before end after 1961.