In early 1971, a year before he abandoned the art world, the American art dealer and independent curator Seth Siegelaub (1941-2013) published The Artist’s Reserved Rights Transfer and Sale Agreement (ARRTSA) in New York. Its stated aim was to change the power relations on the art market more in favor of the artists. This study departs from the observation that despite being a seemingly ideal way to assert artist’s rights, ARRTSA has only been used by a few artists. While the reason for this reluctance has not been sufficiently researched, my study also shows that there is a lack of academic work that considers this area of research in art history. In order to shed light on this field I am using Fairclough’s theory and by applying his dialectical method of Critical Discourse Analysis, I examine the discourses in which ARRTSA is included as a particular discourse and event. The analysis of Siegelaub’s practice and position in combination with a close linguistic analysis of his introductory text highlights aspects and dimensions that have been previously occluded or under- acknowledged. The result of the analysis shows that the discourse stresses solidarity, insistence and consistency for artists and makes a moral appeal to collectors, but the text also reproduces the idiosyncratic energy and ambiguities that was surrounding his driven persona. I argue that despite all the purported benefits of ARRTSA, artists are instilled with a sense of uncertainty and risk, because it becomes apparent how informal and unregulated the art world is and how the art market-logic yields more power than the artist. Hence, the idea of pursuing artist’s rights through the use of written agreements remains largely unexplored.

This dissertation examines the ideological role and adaptation of the mythical British past (derived from Geoffrey of Monmouth’s Historia regum Britanniae) in chronicles of England written in Anglo-Norman, Latin, and English from the twelfth to the fifteenth century, in terms of the shaping of English history during this time. I argue that the past is an important lens through which we can read the imagined geographies (Albion, Britain and England) and ‘imagined communities’ (the British and English), to use Benedict Anderson’s term, constructed by historical texts. I consider how British history was carefully re-shaped and combined with chronologically conflicting accounts of early English history (derived from Bede) to create a continuous view of the English past, one in which the British kings are made English or ‘of England’. Specifically, I examine the connections between geography and genealogy, which I argue become inextricably linked in relation to mythical British history from the thirteenth century onwards. From that point on, British kings are increasingly shown to be the founders and builders of England, rather than Britain, and are integrated into genealogies of England’s contemporary kings. I argue that short chronicles written in Latin and Anglo-Norman during the thirteenth century evidence a confidence that the ancient Britons were perceived as English, and equally a strong sense of Englishness. These texts, I contend, anticipate the combination of British and English histories that scholars find in the lengthier and better-known Brut histories written in the early fourteenth century. For the fourteenth and fifteenth centuries, my study takes account of the Albina myth, the story of the mothers of Albion’s giants (their arrival in Albion before Brutus’s legendary conquest of the land). There has been a surge of scholarship about the Albina myth in recent years. My analysis of hitherto unknown accounts of the tale, which appear in some fifteenth-century genealogical rolls, leads me to challenge current interpretations of the story as a myth of foundation and as apparently problematic for British and English history. My discussion culminates with an analysis of some copies of the prose Brut chronicle (c. 1300) – the most popular secular, vernacular text in later medieval England, but it is seldom studied – and of some fifteenth-century genealogies of England’s kings. In both cases, I am concerned with presentations of the passage of dominion from British to English rulership in the texts and manuscripts in question. My preliminary investigation of the genealogies aims to draw attention to this very under-explored genre. In all, my study shows that the mythical British past was a site of adaptation and change in historical and genealogical texts written in England throughout the high and later Middle Ages. It also reveals short chronicles, prose Brut texts and manuscripts, and royal genealogies to have great potential future research.

This dissertation investigates the modern American stadium from the late 1940s to the early 1980s, examining the ideologies that shaped these monumental buildings and the meanings people affixed to them. Stadiums were significant components of the modern landscape, frequently hosting massive audiences, costing tens of millions of public dollars, and uniquely symbolizing cities and their citizens’ civic spirit. Through interpretations of these stadiums’ architectural expression, spatial constitution, discursive construction, and visual representation, this study explores the ideological landscape of the modern United States, expands understandings of modern space, and examines what it meant to be “modern” throughout this period. A response to the old stadiums they replaced—largely masculine, inter-class, inter-racial, rambunctious places locked into run-down neighborhoods—new stadiums eliminated traditional and iconic sites of urban diversity, reconstituting sports spaces as modern, suburban, and technological. They re-gendered stadium space, integrating women into it as consumers and service workers. They re-classed stadium space, outfitting it with exclusive restaurants and private luxury boxes. They technologized stadium space, conspicuously loading it with exploding scoreboards and massive video screens. They re-racialized stadium space, relocating it from old ballparks adjacent dense African-American neighborhoods to open sites along freeways convenient to booming white suburbs or as anchors to clean-sweep downtown redevelopment. They fundamentally altered stadium experience, shifting emphasis from games on the field to entertainments and consumption opportunities around it. In doing all these things, modern stadiums materialized an ideological apparatus privileging a range of values and practices including gender distinction in mixed-gender settings, socio-economic and racial segregation, technological scientism, and consumption-oriented stimulation. Roy Hofheinz, the force behind the iconic Houston Astrodome’s planning and execution, fully understood the relationship of the material and the ideological; as he put it, “You’ve got to have tangibles to sell intangibles.” To illustrate these points, this dissertation engages postwar plans for futuristic new stadiums from designers like Norman Bel Geddes and Buckminster Fuller; the construction of new stadiums in the mid-1960s in New York, Houston, and St. Louis; and the increasingly routinized modern stadium of the 1970s—a controversial expression of modern progress for some, modern artificiality for others. / text

按Balassa 的實證研究發現50％以上的世界貿易屬於產業內貿易（同一產業內的產品 ，同時有進出口的現象）。但此種貿易的發生卻無法用以往的H─O模型分析說明。直 至晚近，學者提出各種產業內貿易模型，產業內貿易始能模型化解釋。 本文主要目的乃在一具有規模經濟獨佔性競爭和異質商品的產業內貿易（intra-indu stry trade）模型下，探討ぇ因素價格均等化定理，H─O定理，Rybczynski定理及St olper-Samuelson 定理是否仍然成立？え國際資本移動（或國際投資）對兩國的國民 所情，總貿易量及產業內貿易量的影響。

This thesis examines the effects the imposition of Anglo-Norman lordship, following the Anglo-Norman expansion into Wales in the eleventh and twelfth centuries, had upon the landscape of the Welsh border region. In order to achieve this aim this project makes extensive use of digital Geographical Information Systems (GIS) in order to produce a detailed county-wide study of the landscape of post-Conquest Monmouthshire as well as comprehensive case studies of individual Anglo-Norman lordships contained within the boundaries of the county. This thesis also aims to locate its findings within important current debates in historic archaeology about the effects of medieval lordship upon the landscape, on the roles of the physical environment and human agency in the forming of the historic landscape, on the wider role of castles as lordship centres, beyond simple military functionality.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

This thesis investigates the relations between romance and texts of religious instruction in England between c.1170–c.1330, taking as its principal textual corpus the exceptionally rich literary traditions of insular French romance and religious writing that subsist during this period. It argues that romance is a mode which engages closely with religious and ethical questions from a very early stage, and demonstrates the discourses of opposition in which both kinds of text participate throughout the period. The thesis offers substantial readings of a number of neglected insular French religious texts of the thirteenth century, including Robert Grosseteste's Chasteau d'Amour, John of Howden's Rossignos, and Robert of Gretham's Miroir, alongside new readings of romances such as Gui de Warewic and Ipomedon. This juxtaposition of romance narrative and religious instruction sheds new light onto both kinds of text: romance emerges as a mode with deep-rooted didactic qualities; insular French religious literature is shown to be intensely concerned with the need to compete with romance’s entertaining appeal in literary culture. This oppositional discourse profoundly affects the form of instructional writing and romance alike. The discussion of the interactions between insular French romance and instructional literature presented here also serves as a new pre-history of Middle English romance. The final chapter of the thesis offers several new readings of texts from the Auchinleck manuscript, including the canonical romance Sir Orfeo and the neglected, puzzling Speculum Gy de Warewyk. These readings demonstrate that fourteenthcentury romance intelligently adapts the material it inherits from Francophone literature to a new cultural situation. In these acts of reformation, Middle English romance reveals itself as a discursive space capable of accommodating a wide range of ethical and ideological affiliations; the complex negotiations between romance and instructional literature in the preceding centuries are an important cultural condition for this widening of possibilities.

A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad. / Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’

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<p>Företaget Multilens tillverkar glasögon med förstoringsoptik för personer med kraftigt nedsatt syn och stort behov av mer ljus när de läser. Det finns hjälpmedel som förstoringsglas, men med dagens LED-teknik vill Multilens undersöka möjligheten att tillverka glasögonbågar med LED-teknik implementerad i bågarna.  Detta projekt har genom designmetoderna Personas, Scenarios och Quality Function Deployment undersökt vilka funktioner ett par glasögonbågar med implementerad LED-teknik ska innehålla för att personer med behov av den sortens hjälpmedel ska kunna använda dem. Resultatet blev ett antal funktioner på Tytoglasses i form av kravspecifikationer. Tytoglasses har sedan visualiserats i form av en tredimensionell modell.  Denna tredimensionella modell illustrerar hur de olika funktionerna implementerats på glasögonbågarna och hur de är tänkta att fungera.</p>