Th.--Lett.--Lyon 2, 1988.

From Introduction: This thesis then is a detailed study of Lessing's novels in an attempt to show her development as a writer. Her short stories are handled briefly in connection with her novels. For, although the short stories are among her finest work, focus on the novels is sufficient to show her growth as a writer. Hers is the small individual struggle to overcome the limitations of both her content and her form. To overcome the limitations of her content means expanding her own consciousness and re-forming life itself. Only when she is free and the world is free can she overcome the limitations of her content. Then, of course, she need no longer and can no longer write. The task seems as impossible as that of the dung beetles, but she nevertheless continues. Like the sacred beetles with "the sun between their feet" she carries on rolling the muck of the world into symbols of the truth.

This study of six novels by three post-World War II British novelists deals with the philosophical and pragmatic aspects of intimate relationship. Raymond Williams, in The English Novel from Dickens to Lawrence, establishes that novelists were among the first to recognise the destruction of the old community by industrialism. Without an alternate conception of community, industrial capitalism imposes itself directly upon the individual, and thus sets harsh limits upon the relationships he or she can create. One result is the alienation that Karl Marx described as inherent in the marketplaceosociety underpinning Victorian culture; or, in another idiom, the possessive individualism perceived by C.B. MacPherson. The increasing commercialism of society—the propensity, as Adam Smith phrased it, to truck and barter—has encouraged possessiveness, and has debased and alienated the most intimate aspects of human existence, especially sex and love. Sex is a central expression of the essence of life, and hence sexual relationships are adversely affected when they are alienated from love and community. As in the commercial transaction, intimacy in these six novels is vulnerable to the manipulation and the exploitation of one person by another, because there is no willingness to become involved in a reciprocal relationship. This commentary on the novels of John Fowles, Doris Lessing, and David Storey suggests some tentative conclusions about intimacy in the latter part of the 20th century. The working class novels generally emphasise traditional relationships; and tell us that individuals who try to discard them (as with Clegg in The Collector, and Machin in This Sporting Life), will lose £or never win) those whom they love. The emphasis upon money alienates them from their basic community, and destroys their integrity. There is no intimacy divorced from the primary social relationship. Middle class protagonists move away from community as they become dominant in a marketplace society. Their success transforms- them into alienated and possessive individualists; and their belated attempt to restore a sense of intimacy is an effort—perhaps tragic—to become whole in a fragmented world. But the relationships occur in a vacuum. Either they fail, as in The Golden Notebook, or the individuals reject intimacy, and flee forward from community into a super-individualism as with Martha Quest in The Four-Gated City. These novels tell us nothing of a social movement that will give the individual a sense of purpose or meaning: hence the individuals remain isolated, and seem to lose substance. When Leonard Radcliffe, for example (Radcliffe), murders his community out of his need for an absolute, he precipitates his own death. Again, Charles Smithson and Sarah Woodruff in The French Lieutenant1s Woman lose their vitality and sexual commitment because Sarah is more concerned to preserve her individuality. These examples serve to show that temporary and partial relationships are lethal to the spirit. The loss of intimacy is the result, in the end, of the loss of the moral sense. The displacement of the religious impulse to wholeness (the "disappearance of God") leaves one with the hollow victories of possessive individualism in a fragmented society. / Arts, Faculty of / English, Department of / Graduate

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This thesis is an investigation of the way in which the painter May Stevens (b. 1924) synthesizes her personal experiences and political philosophy to form complex and enduring works of art. Primary data was accumulated through an extended interview with May Stevens and by examining her works on exhibit in New York and Boston. An analysis of selected works from her "Big Daddy" and "Ordinary/Extraordinary" series revealed how her personal feelings about her own family became entwined with larger political issues. As an important member of the feminist art movement that evolved during the 1970s, she celebrated this new kinship among women in paintings that also explored the contradictions in their lives. In more recent work she has explored complex social issues such as teenage prostitution, sexism, and child abuse in a variety of artistic styles and media. This study investigates how May Stevens continues to portray issues of international significance in works that consistently engage the viewer on a personal, almost visceral level.

O presente trabalho pretende ser uma contribuição aos estudos que se dedicam a compreensão da figura da vítima e seu lugar em nosso arranjo social contemporâneo. Investigando a trajetória e experiências de um grupo de familiares de vítimas da violência armada, especialmente policial, formado no Estado de São Paulo a partir dos Crimes de Maio de 2006, a centralidade da vítima e seus discursos foram sociologicamente analisados. Nos interstícios de nosso recente regime democrático, permeada por práticas autoritárias dos agentes dos órgãos encarregados de garantir a lei e a ordem, encontrarmos as Mães de Maio, atores que em suas narrativas exteriorizam as experiências de uma violência institucional caracterizada pelo silêncio e pela impunidade. Iniciamos nosso percurso versando sobre alguns dos processos e atores históricos que tornaram possível a centralidade da figura da vítima em nosso arranjo contemporâneo, qualificando a compreensão relativa aos significados de sua presença e discursos no Brasil. Seguimos realizando discussões sobre os Crimes de Maio de 2006 e suas condições de possibilidades para depois retratar as experiências dos familiares das vítimas da violência armada em suas peregrinações pelo ordenamento jurídico brasileiro. A tese se encerra através de algumas considerações acerca dos impactos da emergência da figura da vítima nas interpretações acerca do fenômeno violência e na produção da teoria social contemporânea / The present study is intended to be a contribution to studies that are dedicated to understanding the figure of the victim and its place in our social arrangement contemporary. Investigating the history and experience of a group of family members of the victims of armed violence, especially police, formed in the State of Sao Paulo from the Crimes of May 2006, the centrality of the victim and their speeches were sociologically analyzed. In the interstices of our recent democratic regime, permeated by authoritarian practices of agents of the bodies responsible for ensuring law and order, find the Mothers May, actors that their narratives externalize the experiences of an institutional violence characterized by silence and impunity. We started our journey dealing about some of the processes and historical actors that made possible the centrality of the figure of the victim in our contemporary arrangement, qualifying the understanding concerning the meanings of their presence and speeches in Brazil. We continue holding discussions on the Crimes of May 2006 and its conditions of possibility for after portraying the experiences of family members of the victims of armed violence in their pilgrimages by Brazilian legal system. The thesis concludes with some considerations about the impacts of the emergence of the figure of the victim in interpretations about violence phenomenon and in the production of contemporary social theory

O presente trabalho pretende ser uma contribuição aos estudos que se dedicam a compreensão da figura da vítima e seu lugar em nosso arranjo social contemporâneo. Investigando a trajetória e experiências de um grupo de familiares de vítimas da violência armada, especialmente policial, formado no Estado de São Paulo a partir dos Crimes de Maio de 2006, a centralidade da vítima e seus discursos foram sociologicamente analisados. Nos interstícios de nosso recente regime democrático, permeada por práticas autoritárias dos agentes dos órgãos encarregados de garantir a lei e a ordem, encontrarmos as Mães de Maio, atores que em suas narrativas exteriorizam as experiências de uma violência institucional caracterizada pelo silêncio e pela impunidade. Iniciamos nosso percurso versando sobre alguns dos processos e atores históricos que tornaram possível a centralidade da figura da vítima em nosso arranjo contemporâneo, qualificando a compreensão relativa aos significados de sua presença e discursos no Brasil. Seguimos realizando discussões sobre os Crimes de Maio de 2006 e suas condições de possibilidades para depois retratar as experiências dos familiares das vítimas da violência armada em suas peregrinações pelo ordenamento jurídico brasileiro. A tese se encerra através de algumas considerações acerca dos impactos da emergência da figura da vítima nas interpretações acerca do fenômeno violência e na produção da teoria social contemporânea / The present study is intended to be a contribution to studies that are dedicated to understanding the figure of the victim and its place in our social arrangement contemporary. Investigating the history and experience of a group of family members of the victims of armed violence, especially police, formed in the State of Sao Paulo from the Crimes of May 2006, the centrality of the victim and their speeches were sociologically analyzed. In the interstices of our recent democratic regime, permeated by authoritarian practices of agents of the bodies responsible for ensuring law and order, find the Mothers May, actors that their narratives externalize the experiences of an institutional violence characterized by silence and impunity. We started our journey dealing about some of the processes and historical actors that made possible the centrality of the figure of the victim in our contemporary arrangement, qualifying the understanding concerning the meanings of their presence and speeches in Brazil. We continue holding discussions on the Crimes of May 2006 and its conditions of possibility for after portraying the experiences of family members of the victims of armed violence in their pilgrimages by Brazilian legal system. The thesis concludes with some considerations about the impacts of the emergence of the figure of the victim in interpretations about violence phenomenon and in the production of contemporary social theory

Studien undersöker om den svenska aktiemarknaden i regel presterar sämre mellan månaderna maj och september enligt den så kallade “ sell-in-may-and-go-away- effekten”. Vi använder den logaritmerade avkastningen för det svenska indexet OMXS30 som delas upp i olika perioder; maj till september, samt oktober till april. Avkastningen för dessa perioder jämförs genom att använda en regressionsmodell. Resultatet från undersökningen visar att effekten är positiv, samt signifikant på en-procentsnivå mellan 1986 till 2017 för OMXS30 iSverige. Studien tittar även på sell-in-may-and-go-away- effektens utveckling, och finner indikationer för att effekten avtar efter publiceringen av Bouman & Jacobsens undersökningav effekten år 2002. Indikationen på att effekten avtar kan betyda en högre grad av rationalitet hos investerare samt en mer effektiv marknad allt eftersom sell-in-may-and-go-away- effekten blir mer allmänt känd. Resultatet för att effekten skulle vara avtagande är dock inte statistisk signifikant och därmed inte heller statistiskt säkerställd.

This project analyzes the ways that Louis May Alcott portrays authors in several texts, including Hospital Sketches (1863), "Enigmas" (1864), "Psyche's Art" (1868), Little Women (1868), A Modern Mephistopheles (1877), and Diana and Persis (1878). An examination of prevailing contemporary theories of authorship reveals that Alcott's interest in authorship (as shown through her experiences as a writer and the author figures she depicts within her writing) cannot be adequately analyzed under any of the existing theoretical frameworks because the theories neglect to consider markers of racial, sexual, cultural, and class-based difference. Being a female author in nineteenth-century America was, for Alcott, a preoccupation. Thus much of her writing features representations of authors. For Alcott, as well as many of her female contemporaries, the question "What does it mean to be an author?" cannot be considered without also asking, "What does it mean to be a woman?" and "How can an author be represented in a text?" Alcott's treatment of these questions in her writing was her attempt to create a dialogue between herself, other writers, and her reading public. By studying Alcott's author figures, I advance a model of authorship that highlights issues of gender and multiplicity; in this way my work has applications to other authors who have been excluded by normative definitions of authorship. The concept of "mutable authorship," a model that more accurately incorporates Alcott's treatment of authorship, is the product of several different literary, historical, and feminist theoretical lenses. This dissertation works through the different structuring figures that Alcott uses to represent the author, beginning with the semi-autobiographical first-person narrator and moving to the more metaphorical figures of the artist and the performer. The discussion culminates with the exploration of adaptation and collaboration in the three Hollywood feature films of Alcott's best-known work, Little Women, and several recent texts that respond directly to Alcott's work.

The life history and ecology of Neochoroterpes mexicanus was studied from data collected September, 1971, to August, 1972, and January to December, 1973, in the Brazos River, Texas. Nymphal development, instar analysis, voltinism, standing crops, and production estimates were determined from the quantitative samples taken in 1971 and 1972. Aspects of the life history and food habits of 230 specimens were arrived at from qualitative samples and light box captures in 1973. Laboratory investigation in 1973 helped in establishing instar analysis, egg incubation and description, and first instar descriptions. Neochoroterpes mexicanus appeared to have three generations per year with brood overlap in the summer and fall. It displayed 16 and 19 instars for overwintering and combined summer generations respectively.