The purpose of this study is to introduce the three posthumous narrative poems of C. S. Lewis. Chapter One is an introduction to Lewis's life and scholarship. The second chapter is concerned with "Launcelot," in which the central theme of the story explores the effect of the Quest for the Holy Grail on King Arthur's kingdom. Chapter Three studies "The Nameless Isle," in which Celtic and Greek mythic elements strongly influence both characterization and plot. The fourth chapter is an analysis of The Queen of Drum and its triangular plot structure in which the motivating impetus of the characters is the result of dreams. Chapter Five recapitulates Lewis's perspectives of life and reviews the impact of his Christianity on the poems. The study also shows how each poem illustrates a separate aspect of the cosmic quest.

This study demonstrates how royal portraiture functioned during the Revolutionary and Napoleonic wars as a vehicle for visualizing and processing the contemporary political upheavals. It does so by considering a notion of the 'sovereignty of the portrait', that is, the semiotic integrity (or precisely the lack thereof) and the material territory of royal portraiture at this historical juncture. Working from an assumption that the precariousness of sovereignty which delineated the Revolutionary and Napoleonic wars goes hand in hand with the precariousness of representation during the same period, it reframes prevailing readings of royal portraiture in the aftermath of the French Revolution by approaching the genre less as one defined by the oneway propagation of a message, and more as a highly unstable intermedial network of representation. This theoretical undertaking is refracted through the figure of Maria Carolina, Queen of Naples (1752-1814), close sister and foil to Queen Marie- Antoinette of France, and who, as de facto ruler of the Kingdom of Naples, physically survived revolution but was twice dethroned and thrice exiled. A diverse ecology of royal portraiture revolving around Maria Carolina is presented across five case studies. Close attention to the materiality of a hyperrealistic wax bust of Maria Carolina reveals how portraiture absorbed the trauma of the French Revolution; Maria Carolina’s correspondence in invisible ink is used as a tool to read a highly distinctive visual language of 'hidden' silhouettes of sovereigns and to explore the in/visibility of exile; a novel reading of Antonio Canova's work for the Neapolitan Bourbons through the lens of contemporary caricature problematizes the binary between ancien régime and parvenue monarchy; and a unique miniature of Maria Carolina offers itself as a material metaphor for post-revolutionary sovereignty. Finally, Maria Carolina’s death mask testifies to how Maria Carolina herself became a relic of the ancien régime.

This thesis deals with image of women in romances of second half of 14th century with accent on the Czech productions. Foreign productions are mentioned as well, but this productions are mentioned marginally. At the beginning of this project, there are presented primary and secondary sources on which the project is based. Methodics of project are next. Next there is described issue of romances in european and Czech environment and there is description of real stand of woman in the Middle Ages. Afterwards there are presented characters of women in particular sources with historical context. End of project includes conclusion which is trying to explain how a woman in the 14th century was perceived in used sources.

The diploma thesis The Role of Travesty Show in Media Culture is concerned with a question if we can find some similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment. As a research method I chose qualitative content analysis and questionnaire. Theoretical part focuses on explanation of technical terms, history of homosexuality, queer culture, queer theory, travesty show and history. In practical part I will create concrete codes from qualitative content analysis and from these codes I will make categories. Part of practical part is also a questionnaire. In the end of this thesis I will compare the codes from qualitative content analysis with the answers from the questionnaire. And based on this comparison I will find out if there exist any similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment.

���In this thesis, I use modern concepts of feminism, gender performativity, and psychoanalysis as a means to understand female characters and authors of Renaissance England in a new way. In my first article, I analyze various texts and performances of Queen Elizabeth I, as well as texts of Renaissance female authors who are now slowly entering our modern canon ��� notably, Aemilia Lanyer. The second article is a feminist investigation of Britomart from Spenser's The Faerie Queene. In both pieces, I argue that these women (historical and fictional) broaden the definition of queer, and ultimately of feminism, as a whole. The goal of this thesis is to utilize published and visual records of early modern women writers and fictional characters, and apply a theoretical lens to such texts, in order to analyze these texts in a multi-faceted, contemporary fashion and to establish new modes of thought within the discourse of gender performativity, feminisms and psychoanalytical theory. / Graduation date: 2013

This thesis examines the life story of Nana Yaa Asantewaa and its pedagogical implications for schooling and education in Ghana and Canada. Leadership role among women has been a topic in many debates for a long period. For many uninformed writers about the feminist struggles in Africa, Indigenous African women are docile bodies with little or no agencies and resistance power. However, the life history of Nana Yaa Asantewaa questions the legitimacy and accuracy of this misrepresentation of Indigenous African women. In 1900, Yaa Asantewaa led the Ashanti community in a war against the British imperial powers in Ghana. The role Yaa Asantewaa played in the war has made her the legend in history of Ghana and the feminist movement in Ghana. This dissertation examines the traits of Yaa Asantewaa and the pedagogic challenges of teaching Yaa Asantewaa in the public schools in Ghana and Canada.

This thesis examines the life story of Nana Yaa Asantewaa and its pedagogical implications for schooling and education in Ghana and Canada. Leadership role among women has been a topic in many debates for a long period. For many uninformed writers about the feminist struggles in Africa, Indigenous African women are docile bodies with little or no agencies and resistance power. However, the life history of Nana Yaa Asantewaa questions the legitimacy and accuracy of this misrepresentation of Indigenous African women. In 1900, Yaa Asantewaa led the Ashanti community in a war against the British imperial powers in Ghana. The role Yaa Asantewaa played in the war has made her the legend in history of Ghana and the feminist movement in Ghana. This dissertation examines the traits of Yaa Asantewaa and the pedagogic challenges of teaching Yaa Asantewaa in the public schools in Ghana and Canada.

Thesis (doctoral)--Universität Bochum, 2001. / Includes bibliographical references (p. [413]-427) and index.

Thesis (doctoral)--Universität Bochum, 2001. / Includes bibliographical references (p. [413]-427) and index.

Die Queen Victoria Gedenkhospitaal van Stellenbosch, wat sedert 1904 die Stellenbosse gemeenskap bedien het, het as gevolg van 'n groeien~e inwonergetal geleidelik 'n gebrek aan ruimte ondervind. Daarom is daar gedurende die 1930's pogings aangewend vir die oprigting van 'n groter hospitaal. Hierdie pogings is uiteindelik met sukses bekroon en in 1944 het die Stellenbosch Hospitaal sy deure geopen. Spoedig na die opening van die hospitaal is verskeie probleme, soos byvoorbeeld 'n tekort aan beddens en 'n behoefte aan meer moderne mediese toerusting, ondervind. Die Hospitaalraad het deur voortdurende verto~ tot die Kaapse Provinsiale Administrasie en met die finansi~le steun van die Stellenbosse gemeenskap daarin geslaag om belangrike moderne algemene en mediese toerusting aan te koop. Die Stellenbosch Hospitaal, in samewerking met die Cloetesville Gemeenskaps Gesondheidsentrum, wat onder die beheer van die hospitaal staan, se belangrikste doelwit was, en is, om die beste moontlike diens aan die gemeenskap te lewer. Daarom het die Hospitaalraad met verloop van tyd 'n omvattende gemeenskaps gesondheidsprogram ontwikkel. Sedert die dae van die Queen Victoria Gedenkhospitaal het die Stellenbosse gemeenskap 'n aktiewe rol in die lewering van noodsaaklike hospitaaldienste gespee!. As gevolg van die betrokkenheid en die finansi~le bydraes van die gemeenskap kon die Hospitaalraad noodsaaklike uitbreidings, soos 'n kraamsaal en 'n verpleegsterstehuis finansier. Omdat die gemeenskap besef het dat dit nie net die staat se verantwoordelikheid was om gesondheidsdienste te lewer nie, is die Aksie Stellenbosch Hospitaal, die gemeenskapsarm van die hospitaal, in 1988 gestig. Hierdie Aksie Stellenbosch Hospitaal speel dus in 'n tydperk waar staatsfondse beperk is, 'n belangrike rol om die Stellenbosch Hospitaal doeltreffend te laat funksioneer en om steeds hoe standaarde met betrekking tot gesondheidsorg te handhaaf.