This diploma thesis deals with the portrayal of child heroes in English and American literature, in works of Charles Dickens and Mark Twain. The chosen novels are Oliver Twist, David Copperfield, The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn. These novels are analysed in the themes of child labour and poverty, racism, religion, the view of the world by children in contrast to the adult perspective, upbringing and education. The last chapter deals with the humour of both novelists. Thus the emphasis is put on the social aspect of the literary output of Dickens and Twain. The main aim of the thesis is to depict these child heroes and their acting in the literature of the 19th century, and to reflect the life experience of both authors.

Research into political satire programs show that they can be informative in the same way traditional news inform citizens and that the audience trust the information told by satirists. The political satire program Last Week Tonight with John Oliver has inspired the phenomenon ‘the John Oliver Effect’ due to comedian John Oliver’s ability to influence the world of politics and beyond with his in-depth investigations in serious subjects. In the author’s previous research Last Week Tonight has been portrayed by the media as being a credible source despite being the work of a comedian. This study therefore aimed to research what it is that makes Oliver and Last Week Tonight a credible source and whether some aspects of the reporting can be seen as communication campaign. With the theory of source credibility as part of its core, this study used the method of multimodality to ascertain that the main aspect that spoke to Oliver’s credibility was his perceived trustworthiness rather that his expertise or attractiveness. Using the same method but with the theory of communication campaign as part of its core, the study also ascertained that the program in general possessed some characteristics of a communication campaign but to be completely successful an episode had to possess all characteristics of a communication campaign. Merging this with previous research would indicate that subjectivity – Oliver’s authenticity and honest opinions and feelings – play an important part in his perceived credibility.

Net neutrality is currently one of the most topical government policies up for debate. In the following paper, I will examine three cases in which net neutrality has been threatened by internet service providers and the Federal Communications Commission and reinforced by public interest groups, major website companies, and the public. The online regime has been a critical instrument in the outcome of all three cases, highlighting the role and influence of internet users in the virtual and physical public spheres. Some say that the battle is already lost. FCC Chairman Ajit Pai and his Republican majority in the agency are set on and have the capacity to push through legislation that will undo strict regulation of ISPs set by the Obama administration. The vote has yet to take place later this month, but the result should not detract the democratic nature and value from the decade-long debate. Net neutrality has been demonstrative of a civil society, one that uses all the tools, techniques, and platforms available to them in the fight against corporate interest. For its relation to First Amendment rights, its goals of redeeming public interest to rightful owners, and its use of new public spheres to organize civic participation, net neutrality is not only necessary for the success of the Internet, but the debate around it is also indicative of and essential to the growth of democratic debates around public policy.

Non-standard language, or dialect, often serves a specific purpose in a literary work and it is therefore a challenge for any translator to recreate the non-standard language of the source text into a target language.  There are different linguistic tools an author can use in order to convey non-standard language, and the same is true for a translator – who can choose from different strategies when tasked with the challenge of translating dialectal features. This essay studies the challenge of recreating dialectal, non-standard speech in a work of literature and compares four different translations of that same piece of literature into another language. With this purpose in mind, the novel Oliver Twist by Charles Dickens is analysed using samples of non-standard language which have been applied to indicate a character’s speech as dialectal. The same treatment is given to four different Swedish translations. The method consists of linguistically analysing four text samples from the original novel, to see how non-standard language is represented and which function it serves, and thereafter, comparing the same samples to the four Swedish translations in order to establish whether non-standard features are visible also in the translated novels and which strategies the translators have used in order to achieve this. It is concluded that non-standard language is applied in the source text and is represented on each possible linguistic level, including graphology, morphosyntax, and vocabulary. The main function of the non-standard language found in the source text samples was to place the characters in contrasting social positions. The target texts were found to also use features of non-standard language, but not to the same extent as the language used in the source text. The most common type of marker was, in all five of the texts, lexical items. It was also concluded that the most frequently used translation strategy used in the target texts was the use of various informal, colloquial features.

Problem: Although Oliver Wendell Holmes Jr. transformed American jurisprudence into critical self-awareness, there is no consensus on the nature of his legal theory. Holmes imperfectly represents each of several incompatible approaches. Commentators presume Holmes lacked any original or coherent theory of justice. Friedrich Nietzsche is likewise presumed a critical philosopher without a coherent theory of justice. Nietzsche wrote esoterically, but there is no consensus on the content of his esoteric agenda. Nietzsche's attitudes toward women appear misogynistic, but his philosophy paradoxically appeals to many feminists. Method: By re-conceptualizing Holmes and Nietzsche in terms of the principles of self-organized criticality, their understandings of causation and developmental dynamics become coherent. This thesis re-conceptualizes common-law legal reasoning as exploiting principles of self-organized criticality to build knowledge inductively. This reveals that Holmes and Nietzsche's genealogical critique of idealism rests on the computational implausibility of assuming there always exist microlevel rules to achieve desired macro-level goals. The legal-reasoning model shows that justice entails an inexhaustible open-system dynamic of applying limited resources to accommodate better an ever-broadening matrix of conflicting values. Nietzsche assesses psychological and social conditions that foster this collective creativity and decadent conditions that inhibit the growth of justice. Nietzsche identifies problems specific to institutions that require special safeguards that he esoterically conceals. Using Nietzsche's exoteric accounts of psychology and rhetoric based on principles of self-organized criticality, Nietzsche's esoteric techniques can be inferred, including his syncretism of pagan myths, which reveals his esoteric content. Conclusion: Holmes and Nietzsche applied a coherent theory of justice based on principles of causation and dynamics not widely accepted until the late twentieth century but having roots in ancient myths and isolated prior thinkers. Nietzsche defines justice as pursuing robust community growth without sacrificing the future for the present. Both Holmes and Nietzsche accord pursuit of justice with the good life whereby individuals promote their own development for greater sacrifice for the community. Nietzsche's esoteric solution to his problem of institutions was matriarchy. Nietzsche's matriarchy follows from his identification of the root of the institutional problem as male windfall opportunism, an evolved unconscious male tendency resulting from uncertainty over genetic parentage. / Law, Peter A. Allard School of / Graduate

Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.

MSc (Mathematics) / Department of Mathematics and Applied Mathematics / See the attached abstract below

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La satisfaction du client, parce qu’elle serait un prédicteur de la fidélité à l’entreprise, revêt une importance capitale pour les entreprises contemporaines. Mais, bien que la présence d’un lien entre ces deux variables soit soutenue par la littérature scientifique, peu de modèles expliquent cette relation. Cette étude avait donc pour objectif de tester le modèle de fidélisation du client de Oliver (1980, 1997), basé sur la théorie de l’action raisonnée (Fishbein & Ajzen, 1975). L’échantillon était composé d’étudiants de l’Université Laval et de l’Université du Québec à Rimouski. Les échelles de mesure développées possédaient de bonnes qualités psychométriques. Enfin, les résultats appuient le modèle de Oliver. Ainsi, nous observons une relation positive entre la satisfaction du client et son attitude envers la fidélité à l’entreprise, puis entre cette dernière variable et l’intention d’être fidèle à l’entreprise, ainsi qu’entre l’intention et le comportement de fidélité. / Customer satisfaction, because it is thought to be a predictor of customer loyalty, is of capital importance for companies. However, even though scientific literature supports the existence of a relationship between these two variables, few models explain it. Hence, the aim of this study was to test Oliver’s customer loyalty model (1980, 1997), which explains the satisfaction-loyalty relationship using the theory of reasoned action (Fishbein & Ajzen, 1975). Our sample included students from both Laval University and University of Quebec at Rimouski. The measurement scales developed for this study had, in most cases, sound psychometric properties. Finally, results supported Oliver’s (1980, 1997) customer loyalty model. Indeed, our data showed a positive linear relationship between customer satisfaction and the attitude toward being loyal to the company, between this last variable and the intention to be loyal to the company and, in addition, between intention and loyalty.

The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of postwar serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters.