Thesis (B.A.(Hons.))--University of Adelaide, Dept. of English, 1995. / Includes bibliographical references.

This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.

Thesis (M.S.)--North Carolina State University, 2003. / Title from PDF title page (viewed Apr. 2, 2005). Includes vita. Includes bibliographical references (p. 40-45).

ITC/USA 2006 Conference Proceedings / The Forty-Second Annual International Telemetering Conference and Technical Exhibition / October 23-26, 2006 / Town and Country Resort & Convention Center, San Diego, California / For several decades, the military has used the Multiple Integrated Laser Engagement System (MILES) with a series of iR sensors along a belt fastened to a vehicle for training and simulation. Now, an alternative to this legacy system, a solar rechargeable battery powered wireless IR sensor is replacing wired sensors. The use of short-range RF communications network, allows the MILES sensors strategic placement about a combat vehicle without the umbilical cabling normally required for power and signal coupling from the players processing unit. The RF network operates in the 340 to 380 MHz band, has channeling capability of over 1600 channels, and coexists with the vehicles on board high-powered radios without interference. The wireless sensor implements a custom designed IR sensing amplifier, designed for maximum sensitivity and minimal power dissipation, along with advanced semiconductor IC’s for signal processing and power conversion. Solar recharging enables the sensor to operate for extended time, on a single battery that should last for years without replacement. A proprietary software protocol, developed for communication integrity, is a critical part of the overall system and supports other sensor types and control elements with low data rates for a wireless Vehicle Area Network. The system, successfully installed on several military training platforms, proves to be a viable product for military training and simulation systems for the 21st century.

Thesis (Ph. D.)--University of Chicago, The Divinity School, 2002. / Includes bibliographical references (p. 223-227). Also available on the Internet.

Thesis (M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 79-86).

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 293-296) and discography (leaves 297-298).

Magister Artium - MA / This dissertation concerns itself primarily with deconstruction theory and a number of readings of this novel within the ambit of deconstruction. According to Derrida there is not a single deconstruction and in response to this remark this study undertakes more than one deconstructive reading of the same novel. These different readings are introduced by a preliminary reading of the paratext and a cryptic reading which acknowledges the fragmentary nature of this novel. Hereafter a deconstruction of the novel follows in two phases, of which the first phase focuses on the process of its production. The non-fictitious documents on which the novel is based are revealed and exposed as building blocks during this reading. The second phase of the deconstructive reading is divided into two parts. The first part is based on Derrida’s dredging machine metaphor which introduces and illustrates the concept of random reading. During this phase the novel is acknowledged and read as an intertextual reconstruction. The non-fictitious documents are acknowledged as an archive within the context of recent as well as less recent South African history which serves as intertexts along with other texts. The second part of the second phase involves a reading of this novel as an anti- Hegelian text. Hegel’s concepts of the state and law are brought into the reading process. The reading focuses on the Apartheid State, the police force as an instrument of the state, and offers a critique on the discriminatory laws and the Constitution of the time period within which the novel is contextualised. / South Africa

No description available.

The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music?