Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 2001. / Title from PDF t.p. (viewed on Jan. 31, 2007). Vita. Abstract. Includes bibliographical references (p. 74-85).

Ett mycket högexploaterat förslag utformas där en egen identitet skapas åt Arenastaden i Växjö. Solens gång, bullerkällor, brandrisker, kulturhistoriska värden och många mål i kommunens visionsbild för Arenastaden väger in vid utformning av förslaget. Förslagets nya upplevelsevärden och andra kvalitéer analyseras med hjälp av en solstudie, bullerkällsundersökning och analysmetod av Kevin Lynch. Projektuppgiften är baserad på att en mycket hög exploatering drar ner på områdets upplevelsevärden. Då analysens resultat föll annorlunda erhölls ett annat resultat – metoden; att bygga på höjden besparar grönytor och de värden som mäts vid en Lynchanalys.

<p>Numera Nette Wermeld Enström.</p>

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface reconsiders the value of discontinuous poetic forms and advocates a return to lyric as an antidote to the toxic aspects of what Tony Hoagland terms “the skittery poem of our moment.” I consider poems by Wendy Xu, Kevin Prufer, Sharon Olds, and Stephen Dunn in depth to facilitate a discussion about the value of a more centrist position between the poles of supreme discontinuity and totalizing continuity. Though poets working in discontinuous forms are rightly skeptical of the hierarchies that govern narrative and linear forms, as Czesław Miłosz notes in The Witness of Poetry, “a poet discovers a secret, namely that he can be faithful to real things only by arranging them hierarchically.” In my own poems, I make use of the hierarchies of ordered perception in lyric and narrative forms to faithfully illuminate the collapsed structures of my own family history in the shadow of Detroit. I practice the principles I advocate in the preface, using a continuous form to address fractured realities in a busy, disordered age when poets often seek forms as fragmented as their perceptions. These poems are distinctly American, but because there is no true royalty in America, our great cultural and economic institutions—television, music, film, magazines, and big business—take the place of the castle (the book’s emblem) while Michael Jackson ultimately rises as the commanding dead king whose passing prompts contemplation of the viability of popular culture, family, history, and geography. The fallen structures that litter the work are many: the twin towers, chess rooks, bounce castles, nuclear families, the auto industry. However, the sole structure cohering the whole is that of a lyric voice whose authority is derived through lived experience and presented in rich, continuous poetic forms.

Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings.

This study explores the representations of masculinity in selected contemporary children’s adventure literature. According to John Stephens (2002:x), a problem for boys, both in narrative fictions and in the world, is that hegemonic masculinity ‘appears simultaneously to propose a schema for behaviour and to insist on their subordination as children, to conflate agency with hegemonic masculinity, and to disclose that, for them, such agency is illusory’. This issue, among others, forms the basis of the research as this paradox is particularly evident in texts that fall within the adventure genre, where protagonists present an image of empowered masculinity that has little or no correlation in real, that is, non-literary, childhood. Nevertheless, despite this apparent conflict, the discourses portrayed in these texts continue to influence society (in varying degrees) as they are promoted, perpetuated and disseminated through cultural productions. Moreover, as this research rests on the premise of a belief ‘in the cultural productivity of fictions’ (Knights 1999:vii), it focuses on literary material that forms part of the landscape of childhood in contemporary society. Therefore, this study analyses selected 21st century children’s texts in order to identify and discuss the representations of masculinity in these texts in the context of their publication at a time when hegemonic masculinity has long been a topic of popular and academic debate. The primary texts include the Arthur series by Kevin Crossley-Holland, Anthony Horowitz’s Alex Rider series, the Young Bond series by Charlie Higson and Steve Cole and the Bodyguard books by Chris Bradford.By using discourse theory as a lens to complement the masculinity studies approach, this research investigates the questions posed under the problem statement and presents findings that demonstrate that the gender models presented in the texts are, for the most part, cast in ‘the masculinist and patriarchal conventions that characterised imperialist adventure’ (Capdevila 2003:216). Thus, it is evident that the children’s adventure genre seems to be rather tardy in keeping with the times. Nevertheless, much of the conflict surrounding the performance of masculinity in contemporary society is represented through the texts and forms a significant part of the narrative. / Linguistics and Modern Languages

The aim of this study is to systematize and advance the Systemic-FunctionalLinguistic method of analysing Ergativity such as it has potential to be employedfor linguistically oriented Critical Discourse Analysis. By applying the termMetaphor of Ergativity, and distinguishing and defining a variety of suchMetaphors, different realizations of Ergativity can be identified and categorized.The method is subsequently adopted for an analysis of a newspaper material. Theanalysis reveals that Ergativity is realized differently depending on which Agent isassociated with an Ergative process, and that different Metaphors of Ergativity tendto be used with slightly different functions. Such differences may carry significancefor Critical Discourse Analyses, and the method could therefore be a usefuladdition to future linguistically oriented Critical Discourse Analyses.

This thesis is about auteur execution of film dialogue in screenplays and also in film. By analysing four different feature films, Reservoir Dogs, Chasing Amy, Before Sunset, and Rushmore this work shows how their authors shoot conversational scenes in an innovative manner. The American Independent cinema is briefly introduced as well as the auteur theory. The choice of filmmakers and specific films is explained. The thesis subsequently demonstrates how film dialogue is being viewed by film handbooks and how a conventional dialogue scene looks like. The four analyses are based on all of this information.

This dissertation is basically a reading the book of Lamentation as a literary whole in a sense of a text-centred approach, which aims to interpret the Scripture as divine communicative action. The major philosophical resources that I employ in this study are the Speech-Act theory developed by J. Austin and J. Searle, and the concepts particularly exemplified in the work of K. Vanhoozer. I look at repetition and literary techniques in Lamentations as a clue to its structural unity. In the body of the dissertation, Instead of historical-critical approaches, I claim that the meaning exists not ‘behind the text,’ but ‘in the text itself as a whole.’ One of the most important literary approaches to understanding the book of Lamentations is to note the poetic voices, which interweave in the text. The poetic voices are my main focus of understanding the book of Lamentations. I explain the literary meaning reading the text and demonstrate that we must find the canonical level of the meaning which supervenes on the literary level. The meaning of a text at a literary level must be carefully studied and modified by the ‘fuller sense (or meaning)’ derived from the canonical context. The ‘fuller sense’ of Scripture associated with divine authorship emerges only at the level of the whole canon. Here for the canonical meaning of the text, I focus on Vanhoozer’s assertion, having proposed the suitability of speech act theory for the various tasks of biblical interpretation and theological hermeneutics. When we read the text, there is no utterance from God in Lamentations. It is the missing voice. The main theme of Lamentations is "Where is the true comfort?". The text presents no comfort. In the literary context, God keeps silent (non-speaking). Canonically, however, Christian readers as God’s people read the Bible, connecting it to Jesus Christ. Within the canonical context, we can indeed find an answer and God’s answering speech (that is, His act), because Jesus is their true comforter acting as God’s response. We can find this response in his teaching (e.g. Jesus’ Sermon on the Mount) and in his mission (e.g. presenting his body as the temple, being Immanuel, God-with-us). / Dissertation (MA(Theology))--University of Pretoria, 2009. / Old Testament Studies / unrestricted

Research studies and the review of academic literature has found that strategic leadership had a direct impact on organisational climate, and that climate in turn accounted for nearly one third of the financial results of organisations (Goleman, 2000). The conclusion from research conducted across 13 industries established that over a 20 year period, leadership accounted for more variations in performance than any other variable (Northouse, 2006). This thesis confines its research to a case study on Famous Brands. Famous Brands is currently one of Africa’s leading Quick Service Restaurant and Casual Dining franchisors and is also represented in the United Kingdom. The Group also has a manufacturing arm and supplies its franchisees, the retail trade and the broader hospitality industry with a wide range of meat, sauce, bakery, ice cream, fruit juice and mineral water products. At the time when the company’s name changed from Steers Holdings to Famous Brand in 2004, Kevin Hedderwick was appointed as Chief Operating Officer. The research examines how Kevin Hedderwick has exercised strategic leadership and thereby influenced Famous Brands’ performance. Hedderwick displays qualities, attributes and behaviours that are characterized by the phenomenon of “strategic leadership”. A quantitative analysis of Famous Brands financial performance (between 2005 and 2009) was undertaken. Further qualitative descriptions were used to further give meaning to the financial results. The success experienced by Famous Brands since Hedderwick’s appointment, seem to suggest that strategic choices and initiatives have been met with great success. The research is presented in the form of a case study that can be developed into a teaching case to be used in the classroom to illustrate the exercise of strategic leadership. The researcher explored a qualitative research framework by collecting and assimilating data from available documentation, and from a formal interview that was conducted with Mr Hedderwick. Information was also obtained from interviews that were conducted with other senior executives and influential personnel. This research concludes that the success of organisations is dependent on the interventions of a strategic leader who displays a specialist set of skills and behaviours. These strategic leaders have the ability to successfully influence their employees, thereby creating an enabling environment for the implementation of their strategic choices.