In just five years West Virginia was rocked with two devastating disasters in the coal mining industry. Despite the disasters, West Virginians could not just walk away from the mines, as they depended on the coal industry for jobs and tax revenue. West Virginia had built a purpose-driven orientation towards the coal industry through a historical and current dependency on coal. However, the two disasters had a chance to alter that dominant orientation. In order to understand how or if the coal orientation was altered, by the disaster or the discourse that followed, a pentadic analysis was completed. The analysis revealed that the coal companies constantly battled a tension between the elements of agency and purpose, while trying to overcome a scene that made safety challenging. In the end, one mining company altered the purpose-driven orientation, as the other reinforced the orientation. As both of the situations offered different orientations towards coalmining, their orientations showed that coal companies can be purpose-driven providers but also a responsible provider, understanding not only that miners need a paycheck, but also safety. In the end, when companies use the purpose-driven orientation, created from the history, present, and future of the West Virginia coal industry, their orientation drives profits and reduces the importance of safety for the coal miners, making coal mining a risky business. However, after just one disaster, despite the mining company\'s orientation, the companies become providers to no one / Master of Arts

In this thesis, a review of Kenneth Burke's use of the term attitude in his published works as well as in some unpublished notes, drafts and letters, is performed. Three periods of different usage are found. Early works feature a pervasive attitude with elements of both body and mind. This attitude is then subsumed into the pentad and the physiological connection is diminished, but attitude is given an important function as a connective between action and motion. The later Burke reinstates attitude as central to his theory of symbolic action, reconnects it to the physiological and includes it in the Pentad with parsimony-inducing effect. The attitude is then found to aid rhetorical analysis and show promise in being able to help analyse expressions not wholly in the realm of the conscious, be they in the form of a Bourdieu social practice or barely conscious rhetorical markers in conversation.

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Denna uppsats syftar till att undersöka Sverigedemokraternas kriskommunikativa försvar efter kritiken som uppkom mot partiet i samband med högerextremisten Anders Behring Breiviks massmord på Utöya 2011. I detta har jag ur ett narrativt perspektiv undersökt partiledaren Jimmie Åkessons förklaring till krisen och hur denna samspelar med partiets interna berättelse. Den första delen av resultaten visar att Åkesson strukturerar ett narrativ där uppkomsten av krisen för Sverigedemokraterna förklaras genom att det bedrivs en häxjakt på partiet. Den andra delen av resultaten visar att Åkesson genom dikotomisering använder den uppkomna krisen för att förstärka Sverigedemokraternas roll som antietablissemangsparti. I hans krisberättelse tillskrivs kritikerna och Breivik liknande egenskaper, vilket betyder att de står som en gemensam bov i narrativet. Detta i motsats till Sverigedemokraterna som i istället får rollen som en hjälte - demokratins beskyddare i Sverige. / This paper examines the communicative crisis defense of the Sweden democrats after the criticism that appeared after the mass murder by the right-wing extremist Anders Behring Breivik at Utöya in 2011. In this analysis a narrative examination is made of the party leader Åkessons explanation to why the crisis emerged and how his apology interacts with the party’s internal story. The first part of the results shows that Åkesson structures a narrative where the society’s witch hunt on the party stands as an explanation to why the crisis has emerged. The second part of the analysis shows that Åkesson uses the crisis to strengthen the role of the Sweden democrats as an anti-establishment party by using dichotomies. In his crisis narrative he attributes similar characteristics to his critics and Breivik. The consequence of this is that the two actors stand as a collective villain in the narrative. To the contrary, the Sweden democrats became a hero in the narrative - the protector of democracy in Sweden.

The purpose of this essay is to understand the rhetoric presented by Henry V in Shakespeare’s St. Crispin’s day speech. More specifically, it examines the speech from a "dramatistic" point of view, i.e. the way Henry V is labeling agent, scene, act, agency and purpose in the narrative that his rhetoric constitutes. These labels are in themselves strategic spots, allowing the rhetorician to stage a reality that seeks to promote certain ways of thinking, feeling and acting that are beneficial to him. By examining these labels closely, we gain knowledge of their workings and – perhaps more importantly – their interchangeability. The analysis is based on Kenneth Burke’s dramatistic pentad and his ideas on how dialectical transformation can deepen our understanding of certain representations of reality. The methodology used is mostly that of Kenneth Burke when dealing with the elements of the pentad and its transformations, found in his work A grammar of motives. But it is also inspired by Hahn & Morlando’s (1979) Burkean analysis of Abraham Lincoln’s second inaugural address. The main conclusion is that Henry V overcomes his rhetorical obstacles (his men’s lack of motivation and questioning of the war) by reducing his narrative to the purpose. This purpose (and key term) is "honor", treated by Henry V as a term primarily rooted in the act, which is beneficial to his cause, since it allows men of all ranks to view themselves capable of gaining honor by performing the act of fighting. Furthermore, his focus on honor (and its dreaded counterpart – mediocrity and unmanliness) has the added side effect of drawing attention from some of his men’s critique of the war.

Afin de r��duire la quantit�� d'hydrocarbures d��vers��s dans le milieu marin, les navires de la flotte marchande et, depuis peu, les navires militaires sont tenus de contr��ler leurs rejets huileux. Par exemple, seules les eaux de cales dont la concentration en huile (indice hydrocarbure) est inf��rieure �� 15 ppmv peuvent ��tre d��vers��es en mer (Marpol 73/78). Au-del�� de cette teneur, et si le stockage �� bord n'est pas envisageable, un traitement avant rejet devient alors in��vitable. Cependant, les traitements actuels des eaux de cales se sont av��r��s jusqu'ici insuffisants. La photocatalyse h��t��rog��ne, m��thode largement utilis��e dans le cas du traitement d'effluents gazeux et liquides, a ainsi ��t�� propos��e dans ce travail. L'abattement de l'indice hydrocarbure a ��t�� suivi par analyse GC-MS. D��s lors, apr��s avoir mis en ��vidence la faisabilit�� et les limites du proc��d�� batch, un r��acteur photocatalytique �� a��ration diffus��e (DAPR) a ��t�� d��velopp�� afin de rem��dier au manque d'oxyg��ne dissous de l'effluent r��el. Comparativement au traitement dans le r��acteur batch, une meilleure efficacit�� de la d��gradation a ��t�� observ��e dans le DAPR. Cependant, l'analyse parall��le (ATD-GC-MS) de l'��volution de la composition de la phase gazeuse a montr�� qu'une quantit�� non n��gligeable de compos��s organiques volatils (COV) y ��taient alors ��mis. Enfin, les nalcanes ont ��t�� identifi��s comme ��tant les compos��s les plus r��fractaires au traitement photocatalytique et le pentad��cane a alors ��t�� choisi comme polluant mod��le des eaux de cales pour une analyse cin��tique.

What the Spirit Knows: Charles Williams and Kenneth Burke examines the Arthurian poetry of Charles Williams using a methodology derived from Kenneth Burke. This is an experiment in literary criticism of a Christian poet using a methodology that is not specifically Christian. Key critical ideas found in Burke are utilized in reading poems from Taliessin Through Logres and Region of the Summer Stars. Burke's work on form and symbol (primarily from Counter-Statement) is addressed first. Form in an individual poem (using "Taliessin's Song of the Unicorn) and in an entire cycle is examined. Burke lists several uses for symbol in Counter-Statement, and an example of each of these from Williams' poetry is described. Burke relates the ideas of substance and scapegoat (with the latter being a special case of the former). Williams also had much to say poetically about substance and the relations of people within Cities, Kingdoms, and other normal social groups. Scapegoating occurs in Burke when a victim is at once identified substantially with a group, yet symbolically cast from the group to bear some punishment that symbolically expiates the sin of the entire group. Williams does not treat the scapegoat as traditionally as he might, chiefly due to his Christian orientation.Burke is perhaps most famous for his introduction of the Pentad: five elements present in motivation within a work. Williams is able to mold the Arthurian myth to his own purposes through his manipulation of the elements of the Pentad. For Burke, rhetoric is largely a question of identification. He also shows that the poet's identification with his own creation often betrays itself within the text. Since Williams strongly identified himself with Taliessin, several examples of the narrator betraying the beliefs and feelings of the poet are discussed. Burke's use of the hierarchical dialectic as a form of entelechy is compared to Williams use of dualism within the Christian belief system.

This thesis seeks a portable and accessible model for centralising photographs in enquiry. I argue that photographs are potent sites of human value making but are typically relegated to illustrating word-based considerations, while the vast mass of ‘ordinary’ photographs are excluded from even this function. The context in which I develop and test the model is the heroic era of Antarctic exploration, a time and place that is dominated by an entrenched mythology, and where photographs have been assigned a merely pictorial role. In seeking to reactivate these objects and pictures I turn to Elizabeth Edwards’ notion of using photographs to think with, tracing the evolution of this idea through generations of thinking about photography, and emphasising recent writers such as Geoffrey Batchen, Margaret Olin and Joan Schwartz. My work confirms a resonance with Edwards’ thinking but also a need to emphasise photographic materiality and the photographic collective. Further, I demonstrate that this thinking also resonates with the work of Walter Benjamin and Roland Barthes, confirming a construction of photographs as generative anchoring points in networks of identification that are both culturalised and subjective. My model for thinking with photographs draws in Kenneth Burke’s pentad of dramatistic analysis, arguing a productive fit with his concern to filter the rhetorical detritus of human behaviour as an entrée to viewing core motivations. The pentad has not previously been used to think with photographs but it is able to be deployed successfully for this purpose by refreshing its operation in line with writers such as Robert Cathcart, James Chesebro and Gregory Clark. For Antarctica, thinking with photographs involves negotiating margins – depicted, physical, temporal and ideological, and in addressing the photographic mass this thesis argues a reactivation of margins as points of insight rather than barriers of exclusion. Recent writers such as Francis Spufford, Stephen Pyne, John Wylie and Kathryn Yusoff have found new ways to construct the performance of Antarctic exploration, and, in this spirit, the thesis enacts Burke’s pentad to think with the photograph collection of ‘second tier’ Antarctic explorer, Ernest Joyce. It shows Antarctic exploration to be also an intensely personal experience, with the power to overhaul mindsets but offering no guarantee that new expectations can be delivered on. In Joyce’s photographs it finds a nexus of contested narratives and contested photographies, and the seeds of a Benjaminian modernity that speak of the personal implications of the dissolution of meta-narratives.

Forum Conversations is an organisational theatre method for helping individuals to deal with their difficult conversations in the workplace. It uses professional actors to simulate participants’ ‘difficult others’ and to play out confrontational conversations from participants’ own experience. This study adds to the empirical base of research into organisational theatre. It further conceptualises organisational theatre methods as reflective or refractive. This qualitative, interpretive study examines the perspectives of both participants and actors through a dramatistic lens and also assesses if and how the Forum Conversations method has affected changes in behaviour and approach in the ways individual participants communicate with others in the workplace. In this assessment a novel, methodological approach based on attributions made by participants was used to make comparisons between individuals’ pre- and post- Forum Conversations views about their difficult conversations. Outcomes included improvements in confidence and awareness but also of agency in participants’ dealings with others. The interaction between actors and participants is discussed in terms of a partial dialogism that dwells in the moment of exchange between interactants. From the actors’ side the study highlights the subtly layered reflexivity of the actors in process and also of their tendency to accentuate performance skills. In this context, the interaction is seen to compare with the way professional actors might use rehearsal to prepare for theatre performance. Overall, it is concluded that Forum Conversations is a powerful learning method that enables participants to embody their learning experience and leads to sustained individual change that occasionally includes personal transformation both at work and at home.

Bakgrund: Samhällsvetenskaplig och sociologisk forskning om BDSM (enparaplyterm för bondage/disciplin, dominans/underkastelse och sadomasochism)är ett växande område sedan slutet av 1990-talet. Forskning som fokuserar påyngre BDSM-utövare saknas dock. Syfte: Studiens syfte är att, utifrån teorin omsexuella script (Simon & Gagnon 1986), undersöka vilka innebörder BDSM kanha för unga vuxna BDSM-utövare i Sverige 2019. Metod: Studien baseras påkvalitativa intervjuer med nio individer, i åldersintervallet 19–24 år, somdefinierar sig som BDSM-utövare. Materialet analyseras tematiskt utifrån teorinom sexuella script och Kenneth Burkes dramatistiska pentad. Resultat: Materialetkategoriseras i tre huvudteman som innefattar sammanlagt nio underteman:Konsonanser (”Kommunikation och utövande”, ”Intimitet och relationer” och”BDSM som den trygga sfären”), Dissonanser (”Dominant och jämställd” och”Negativa upplevelser och övergrepp”) samt Flertydiga harmonier (”Förnuft ochkänsla”, ”Feminisering som väg till njutning”, ”Åldersscript”, och ”Att skära sigmed olika innebörder”). Analysen visar att BDSM kan ha positiva, negativa ochparadoxala innebörder för unga vuxna utövare. Hur BDSM upplevs tycks hasamband med i vilken utsträckning sexuella script på olika scriptnivåer kongruerarmed varandra. Diskussion: Resultaten överensstämmer delvis med tidigareforskning, till exempel hur kommunikationen kan gå till, förekomsten av ensekvens av olika faser i utövandet, förhållningssätt till jämställdhet,iscensättningar kopplade till föreställningar om kön och ålder samt hur BDSMrelateras till intimitet, relationer och ett tryggt sammanhang. Utmärkande iempirin är att strypsex betraktas som vardagligt och vanligt. En analys avbeteendet ”att skära sig själv” i förhållande till självskadande och BDSM visar attbeteendet kan ha flera innebörder. / Background: Social scientific and sociological research on BDSM (an umbrellaterm for bondage/discipline, dominance/submission and sadomasochism) is agrowing field since the late 1990s. However, research focusing on youngerBDSM practitioners is lacking. Aim: Drawing on Simon and Gagnons (1986)concept of sexual scripting, the aim of this study is to examine meanings ofBDSM among young adult practitioners in Sweden 2019. Method: The study isbased on qualitative interviews with nine individuals, in the ages of 19 to 24years, who define themselves as BDSM practitioners. The material is analyzedthematically using sexual scripting theory. Result: The material is categorizedinto three main themes that includes a total of nine sub-themes; Consonances(“Communication and practice”, “Intimacy and relationships,” and “BDSM as asafe sphere”), Dissonances (“Dominant and equal” and “Negative experiences andabuse”), and Ambiguous harmonies (“Reason and emotion”, “Pleasure throughfeminization”, “Age scripts,” and “Different meanings in ‘self-cutting’”). Theanalysis shows that BDSM can contain positive, negative, and paradoxicalmeanings to young adult practitioners. How BDSM is perceived seems to berelated to whether scripts on different levels are congruent or incongruent.Discussion: The results are partly consistent with previous research, e.g. patternsof communication, sequences of events in practice, approaches to gender equality,conceptions of gender and age in BDSM sessions, and how BDSM is related tointimacy and relationships and experienced as a safe environment. A divergentfinding is that breathplay is considered common and ordinary. An analysis of selfcutting,in relation to self-harm behavior and BDSM, shows that self-cutting canhave several meanings.