This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

This dissertation evaluates the degree of "fit" in employing Emotionally Focused Couple Therapy [EFCT] within the context of congregational ministry and/or a Christian counselling center to counsel evangelical couples who have experienced an "attachment injury." The present study introduces and examines the possibility that, given an appropriate level of theological reflection, EFCT is an appropriate counselling methodology for use by evangelical clergy and counselors. Beginning with an examination of the values, assumptions and practices of EFCT this study explores three dimensions of the interface between EFCT and ecclesiastical practice: a) a theological reflection on the values and assumptions that inform the practice of EFCT; b) a comparison of EFCT with the marital counselling theories of Howard Clinebell, Jr., Larry Crabb, Jr., H. Norman Wright, and Everett L. Worthington, Jr., noting how each of these theories conceptualizes and treats both the marital dyad and emotional experience; and, c) an examination of Christians' perceptions of, and receptivity to, this model. The research demonstrates that the pastoral adaptation of EFCT highlighted in this study was rated favorably but not superior to the other four models. Specifically, it is noted that those who had previously experienced marital counselling, pastoral or otherwise, appeared to be attracted to the EFCT model as it was presented, even though the exemplar did not explicitly incorporate either the use of scripture, prayer, religious homework, or spiritual themes such as forgiveness and mutuality in marriage. The fact that even in the absence of an explicitly spiritual emphasis EFCT received high ratings suggests there is something within the model that speaks to the committed evangelical believer. The study concludes that even though EFCT may not be known within the evangelical community the perspective it offers "fits" with the values of this part of the Christian community and seems to appeal to those who have previously experienced marital difficulties. As a result, it may be stated that EFCT offers a mode of intervention that is suitable for use with evangelical Christians. / Practical Theology / D. Div. (Pracical theology)

國際經濟學者長期使用比較利益或規模經濟模型討論貿易問題，決定貿易型態及貿易 利得，但是卻忽略了某些命題的動態本質，例如技術進步在長期下會改變比較利益， 以及貿易政策及經濟成長的關係(Grossman & Helpman1988)，此乃近年來動態貿易理 論逐漸為人重視的原因，應用最適動態模型來處理這些新問題，較能了解其動員態調 整過程，本文的動機便是利用跨期性動態模型探討技術進步，在長期對經常帳，資本 累積的沖擊效果，是否能獲得與靜態貿易理論不同的內涵，及結論。 利用最適動態模型來分析經常帳及資本累積理論，根據其時間的界定可分為三類 (1) 兩期模型(Two-Period Model)(2) 跨代模型(Overlapping Generation Model)(3) 無 限期模型(Infinite-horizon Model)，此三類模型對此主題之研究是非常混亂旦不完 整，不同的模型會有不同的結論，本文所採用的模型乃第 (3)種，其主要依據為Abel & Blanchard(1983) 的單部門投資與儲蓄模型延伸為一個可以涵蓋兩部門的小型開放 經濟模型，試建立一個無限期動態化的兩部門小型開放國家的模型，本模型的特點在 於利用一個收益函數r(p,k,Q)取代了Abel & Blanchard的單部門生產函數f(k)，代表 一般化的兩部門生產架構來探討資本累積和經常帳的動態調整，利用及所沒有探討的 特性 (Dixit & Norman 1980)，我們可以探討文獻上所探討及所沒有探討的，有關技 術進步對資本存量及經常帳的影 。

No description available.

Cette version de la thèse a été tronquée des certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Si Norman McLaren (1914-1987) œuvre principalement dans le domaine onirique de l’animation, David Cronenberg (1943-), parfois surnommé « The Baron of Blood », réalise des films de fiction appartenant à un genre singulier qu’il a lui-même développé, celui de « l’horreur intérieure ». Que peuvent donc partager ces deux cinéastes aux univers a priori si distincts ? Chacun a construit une relation à long terme avec un compositeur : Maurice Blackburn (1914-1988) pour le premier, Howard Shore (1946-) pour le second. Mais si les univers des deux réalisateurs ont été maintes fois investigués, l’apport de leurs compositeurs respectifs demeure peu examiné. Or, d’un univers à l’autre, la musique semble jouer un rôle de toute première importance, chacun des compositeurs étant impliqué très tôt dans le processus cinématographique. Cette implication précoce dans la création collective est indicatrice de la place et du rôle centraux qu’occupent Blackburn et Shore et leur musique au sein de l’œuvre de McLaren, d’une part, et de Cronenberg, de l’autre. De la sorte, les partitions semblent ne pouvoir être considérées comme une simple illustration sonore des films, mais comme une composante tout à fait fondamentale, relançant dès lors la question du rôle de la musique au cinéma : comment le définir ? En outre, au fil de la rencontre continue sur plusieurs films, musique et cinéma en sont venus à un entrelacement tel qu’un style singulier de musicalisation des images se serait développé : quels sont les traits qui définissent ce style ? D’une collaboration à l’autre, cette thèse cherche à établir une poïétique de la création musico-filmique ; elle cherche à décrire et à comprendre les processus créateurs filmique et musical qui déterminent la composition d’une musique de film et, plus encore, une musicalité de tout le complexe audio-visuel. À travers des portraits examinant la pratique et le discours des créateurs et quatre analyses de bandes sonores (A Phantasy de Norman McLaren, Jour après jour de Clément Perron, Crash et A Dangerous Method de David Cronenberg), des liens se tissent peu à peu entre les pensées et les pratiques des deux compositeurs qui développent des stratégies similaires et originales face aux problèmes que leur posent les œuvres de McLaren (l’indissociabilité de la musique et de l’image) et de Cronenberg (la « transformation de l’esthétique humaine »). D’un binôme à l’autre, le cinéma se transforme en un laboratoire musico-filmique où chacun élabore une « méthode dangereuse » qui force l’analyste à explorer de nouvelles avenues méthodologiques. / Norman McLaren’s (1914-1987) animation work evokes a primarily dream-like world. David Cronenberg (1943-), also sometimes known as the “Baron of Blood,” makes fiction films that belong to a singular genre he developed: the “inner horror.” So what can these two filmmakers possibly have in common? They both built a long-term relationship with composers: Maurice Blackburn (1914-1988) for the former and Howard Shore (1946-) for the latter. Though the distinct approaches of these two directors have been widely studied, the weight of the contributions of their respective composers remains largely unmeasured. And this, despite the fact that music seems to play a primary role in these two directors’ process since, in each instance, the composer is involved very early on. This unusually early involvement of the composer, and the ongoing collaboration it entails, are indicative of the central place and role held by Blackburn and Shore’s music in McLaren’s work on the one hand, and Cronenberg’s on the other. This considered, their scores must no longer be seen as direct sound illustration of the films, but rather as essential components of the films, even though such a stance forces us to rethink how we define the role of music in film. Furthermore, from film to film, music and cinema become so intertwined that a singular style of musicalization of the image develops, begging the question: what are the characteristics of this style? From one collaboration to the other, this thesis seeks to establish a poietic of film-music creation; it looks to describe the cinematic and musical creative processes that determine the composition of film music and, beyond that, the musicality of the entire audio-visual complex. Through portraits that investigate the practice and discourse of creators and through the analysis of four soundtracks (A Phantasy by Norman McLaren, Day After Day by Clément Perron, Crash and A Dangerous Method by David Cronenberg), the thoughts and practices of the two composers, who develop similar innovative strategies to solve the problems posed by the works of McLaren (the inseparability of music and image) and Cronenberg (the “transformation of human aesthetics”), are gradually connected. From one duo to another, cinema becomes a musical and cinematic laboratory where each develops a “dangerous method” which forces the analyst to explore new methodological avenues.

傳統敘事如小說透過文字表現，如攝影凍結時間以照片表現，如影片透過蒙太奇將事件以時間序列安排，而數位敘事竟能一次包含上述所有文本於一體，其中奧妙的敘事模式究竟為何？本研究的主體－資料庫，作為數位敘事的一種類型，一種文化形式，如何將傳統敘事元素徹底拆解成數碼格式？又這些傳統敘事元素如何轉換、又如何殘存於資料庫敘事中？ 藉由文獻分析之過程，探究傳統敘事理論與數位敘事理論之間的可能關係，並透過所選個案文本【Bleeding Through Layers of Los Angeles：1920-1986】，進行「敘事結構」、「敘事觀點轉換」兩大面向之分析，試圖瞭解在數位的浪潮下，人們說故事的方式、故事的樣貌是否有變化的可能性，以提供數位敘事設計者一些理論與實務上的思考。本研究結果歸納如下：1. 開放的敘事結構啟動讀者更多闡釋，2.互為文本的兼蓄性讓敘事有最大程度展示空間，3. 互動敘事達到讀者實質與文本互動。 / Fiction performs through text. Photography performs through images. Movie performs with video; with the help of montage, video has meanings. All of them are traditional narratives, and digital narrative contains all of the above. How does digital narrative work these out? This research aims to discuss “the database narratives”. As a type of digital narrative, how does database narrative completely dismantle the traditional narrative elements into a digital format? By analyzing the reference documents, we could find the relation between theories of the traditional narrative and digital narrative. Through the selected piece of work “Bleeding Through Layers of Los Angeles：1920-1986”, this research focuses on "narrative structure," and "point of view," trying to understand the way of storytelling in digital times. This research concludes with the following: 1. Open narrative structure renders a text more interpretations. 2. Inter-textuality enhances the scale of narrative to the most. 3. Interactive narrative enables readers more interactions with the text.

No description available.

Not available

This dissertation evaluates the degree of "fit" in employing Emotionally Focused Couple Therapy [EFCT] within the context of congregational ministry and/or a Christian counselling center to counsel evangelical couples who have experienced an "attachment injury." The present study introduces and examines the possibility that, given an appropriate level of theological reflection, EFCT is an appropriate counselling methodology for use by evangelical clergy and counselors. Beginning with an examination of the values, assumptions and practices of EFCT this study explores three dimensions of the interface between EFCT and ecclesiastical practice: a) a theological reflection on the values and assumptions that inform the practice of EFCT; b) a comparison of EFCT with the marital counselling theories of Howard Clinebell, Jr., Larry Crabb, Jr., H. Norman Wright, and Everett L. Worthington, Jr., noting how each of these theories conceptualizes and treats both the marital dyad and emotional experience; and, c) an examination of Christians' perceptions of, and receptivity to, this model. The research demonstrates that the pastoral adaptation of EFCT highlighted in this study was rated favorably but not superior to the other four models. Specifically, it is noted that those who had previously experienced marital counselling, pastoral or otherwise, appeared to be attracted to the EFCT model as it was presented, even though the exemplar did not explicitly incorporate either the use of scripture, prayer, religious homework, or spiritual themes such as forgiveness and mutuality in marriage. The fact that even in the absence of an explicitly spiritual emphasis EFCT received high ratings suggests there is something within the model that speaks to the committed evangelical believer. The study concludes that even though EFCT may not be known within the evangelical community the perspective it offers "fits" with the values of this part of the Christian community and seems to appeal to those who have previously experienced marital difficulties. As a result, it may be stated that EFCT offers a mode of intervention that is suitable for use with evangelical Christians. / Philosophy, Practical and Systematic Theology / D. Div. (Pracical theology)

The key research question of my diploma thesis deals with the problem of whether the President of the Czech Republic Milos Zeman creates the same discourse as far-right political parties in the Czech Republic. The research concerns the social discourse surrounding the current migration crisis facing Europe. In this connection, there is a discourse analysis of the themes of migration, Islam, terrorism, external and internal actors. This research is conducted on the basis of the theory of binaries from Teun Van Dijk, which can be applied to a populist political style characterized by President Zeman and extreme right-wing political parties, among which are analyzed the Workers' Party of Social Justice, National Democracy, Dawn - the National Coalition, Freedom And Direct Democracy - Tomio Okamura and the Citizens' Rights Party. Research data is collected from President Zeman's official communications channels and political parties, including official websites and social networks. Based on a discourse analysis of their political views, it is possible to compare President Zeman and the extreme right-wing parties to each topic and to conclude whether they speak the same or differently about these themes.