This dissertation explores the theological and ethical preoccupations of Phillis Wheatley in colonial New England. Chapter 1 frames the conversation around relevant research and states the project thesis to explain Wheatley’s background and eventual role as mother of African-American literature. Wheatley manipulates neoclassical Greek mythological images to subversively critique British-American racial hierarchicalism. Chapter 2 explains the meaning of an Afrosensitive hermeneutic, exploring the epistemological development of Afrocentric thought as a Eurocentric counterfactual. Bebbington’s quadrilateral is the exploratory portal used to discern Wheatley’s commitment to evangelical theology. Chapter 3 assesses Wheatley’s critique of exemplary or open American exceptionalism through the lens of chattel slavery. Critical race theory becomes the analytical lens to understand the intersection of religion, race, class, and gender on Wheatley sociopolitical imagination. Chapter 4 develops a conversation on social justice and neighbor love between Wheatley and St. Augustine (AD 354-430) of Hippo. Although Wheatley never directly quotes, she exemplifies Augustinian spirituality in her response to injustice. They both desire to restore the image of God through a comprehensive view of the gospel—vertical, horizontal, and cosmological. Chapter 5 addresses Wheatley’s staunch commitment to Christian orthodoxy and social activism. She honored Christ as the exclusive way of salvation through literary apologetics in select poems. She also leveraged her privilege amongst societal influencers to advocate for the immediate emancipation of African peoples. Wheatley believed that enslavers lacked a comprehensive understanding of love. Hence, she confronted inconsistent religious and philosophical beliefs through her poetry and prose. Chapter 6 summarizes the dissertation by demonstrating the theological and ethical commitments of a contemporary afrosensitive evangelical spirituality by critiquing key figures within the realm of Afrocentric spirituality, illustrating why afrosensitive evangelical spirituality reverences biblical authority while exercising cultural agency when examining African diasporic narratives.

Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town, 1989 / The document initially describes the operation of the decoder and the production system. Thereafter actual engineering problems are stated and their solutions discussed. The project involves the accurate identification of problem areas on the production line and the systematic solving for each case. Subjects include static electricity pretesting and automatic insertion machine defects. Analysis of these problems provides one with a better perspective towards the production line and its inherent problems. Results and solutions are presented photographically as well as tabulated in the annexure. In some cases, such as defect classification, deductions were concluded that were very different from those initially expected.

Scholarship on 1950s American science fiction cinema has tended to explore the relationship between these films and their domestic contexts of production and reception. They are often characterised as reflections of US anxieties about communism and nuclear technology. However, many such films were exported to Britain where these concerns were articulated and understood differently. The ways in which this different national context of reception shaped British interpretations of American science fiction cinema of this era has not yet been accounted for. Similarly, although some research has addressed 1950s British science fiction, this scholarship has been comparatively concise and has left gaps in our knowledge about the domestic reception of these films. Unable to draw on a British reception history of domestic and US 1950s science fiction cinema, debates about the genre have sometimes been underpinned by the presumption that western audiences responded to these films in a uniform manner. This thesis seeks to complicate our understanding of the genre by suggesting the specificity of the British reception history of science fiction cinema during the 1950s. The paucity of documentary evidence of British responses to 1950s science fiction films makes an audience study impossible. Within the intellectual framework of the New Film History, this thesis instead employs a contextually- activated approach to reception. Making extensive use of archival sources, newsreels, newspapers, magazines and other such documentary evidence, it explores some of the different contexts in which 1950s science fiction cinema was received in Britain and suggests how these factors might have shaped the interpretation of the genre. The thesis examines the interplay between American and British 1950s science fiction cinema and the British public understanding of communism, immigration, nuclear technology and scientific advancement. It contributes to our knowledge of these films by demonstrating that Britons did not necessarily understand 1950s science fiction cinema in the same way as Americans because they were party to a differently inflected series of public debates. It exposes the flexibility of the metaphors utilised by the genre during this period and their susceptibility to reinterpretation in different national contexts. This research makes visible, in a more extensive manner than has yet been accomplished, the specificity of the British reception history of 1950s science fiction cinema, and thereby provides a means to resist assumptions about the similarity of western audiences during this decade. Its conclusions call for further research into other national reception histories of these films, so that they too are not overshadowed by the better known American history of the genre, and into the possibility that the British reception history of other genres might similarly have been obscured.

The purpose of this essay is to examine the reception of Pre-Raphaelite art from a Swedish point of view. It is based on comparative and reception-historical analysis and aims to deter-mine how the reception, perception, and views of the Pre-Raphaelites has changed over time. The essay explores how the authors discuss the realism of the Pre-Raphaelites, whether the authors consider the Pre-Raphaelite imagery reactionary or innovative, and the authors' views on the art-historical significance of the Pre-Raphaelites. It examines how Pre-Raphaelite art was described and received by Swedish art historians during the 19th and 20th centuries and the reception of the 2009 Pre-Raphaelite exhibition held at the National Museum of Fine Arts in Stockholm. This was the first exhibition dedicated exclusively to the pre-Raphaelites in Sweden. The purpose of the exhibition was to introduce pre-Raphaelite art to the Northern European audience and included around 200 works of art, such as paintings, textiles, and photography.

Les pastiches-Zola constituent un signe de réception de l’œuvre zolienne. Le style de l’auteur des Rougon-Macquart est toujours ciblé plus d’un siècle après sa mort par les auteurs de ce type de réécriture. Notre travail de recherche pose le problème de l’appropriation mimétique et/ou différentielle des pastiches-Zola postérieurs à sa mort. La question centrale à traiter est celle de savoir comment Zola est imité dans ces pastiches. Le pastiche implique le phénomène de reprise textuelle qui est caractérisé par l’existence de deux types de textes : l’hypertexte (texte dérivé) et l’hypotexte (texte imité). Une approche comparative associée aux théories de l’intertextualité et de l’hypertextualité nous a permis de découvrir que les pasticheurs de Zola s’inspirent de ses romans et des œuvres d’autres auteurs célèbres. Ils produisent ainsi des pastiches à hypotexte simple, double ou multiple. Les pastiches-Zola se distinguent aussi par leur visée interne (littéraire) ou externe (politique, publicitaire). Les pastiches à visées externes montrent que leurs auteurs documentent les faits sociaux de leur époque comme le faisait Zola. Certains pasticheurs font preuve d’engagement (littéraire) en s’attaquant, mais de manière indirecte, aux personnalités politiques de leur époque. En plus de leurs intentions, leur représentation du style de Zola diversifie leurs productions écrites. Chaque pasticheur obéit à certaines règles d’imitation liées de manière générale aux principes de ressemblance et de différence. Certains pastiches sont ainsi plus inventifs et/ou plus représentatifs du style zolien que d’autres. L’étude des manières imitantes des pasticheurs permet de mener une réflexion sur la notion du style dont les définitions paraissent floues. Les pasticheurs ne s’attardent plus seulement sur la thématique zolienne qui a été très critiquée de son vivant et même après sa mort. Ils allient les thèmes aux procédés stylistiques et expriment, de ce fait, une reconnaissance des qualités poétiques de l’œuvre du chef de file du naturalisme. Les pastiches-Zola produits au XXe et à l’aube du XXIe siècles apparaissent donc, non seulement comme une analyse critique de cette œuvre, mais aussi comme une critique des critiques partielles ou partiales qui ont précédé le renouvellement de la lecture des textes de l’auteur de Médan. L’imbrication des procédés stylistiques et des thèmes zoliens repris et adaptés aux contextes des pasticheurs montre que le style littéraire convoque à la fois les dimensions idiosyncrasiques et sociologiques des façons d’écrire propres à un écrivain, le style n’étant pas un phénomène abstrait mais une série de choix formels et thématiques historiquement situés et dont l’imitation est grandement déterminée par des représentations. / Zola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations.

This thesis looks closely at Propertius’ reception of the Antigone mythology in Propertius 2.8. First, I lay the groundwork to argue that Propertius is consciously receiving the Antigone mythology as found in Sophocles’ eponymous tragedy. I show through a close examination of language and themes that Propertius and Sophocles share semiotic markers of eroticized death that reveal Propertius’ intentional use of Sophocles’ tragedy, as opposed to other scholars who argue that Propertius is engaging with a later lost tradition of Haemon in Hellenistic poetry. After connecting Propertius with Sophocles, I explore the motif of eroticized death in mythological literature. I highlight four types of eroticized death with brief examples: 1) the suicide/intentional death of the lover at the death of the beloved by outside forces, 2) the mourning/survival of the lover at the accidental death of the beloved, 3) the suicide of the beloved at the abandonment of the lover, and 4) the intentional murder of the lover by the beloved because of betrayal. I then show that Propertius’ threat of murder and violence does not fit any of these categories and that he is innovating upon the theme of eroticized death. I then look closely at why a new type of eroticized death, one that is more extreme than other types, finds itself in the genre of poetry, which argues to depart from the world of masculine violence. I show that suicide occurs because of the poet’s insistence on being both poet and character of poetry, causing him to do harm to himself. The threat of the puella’s murder occurs because she embodies poetry itself, and the poet has become frustrated with the quality of his poems. Finally, I explore how readers can respond to violence towards a woman who is fictional and representative of poetry and argue that despite her identity residing in poetry that there is still concern for discussion about real domestic violence toward ancient women in erotic contexts.

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Jag är bland de första studenterna som genomgått en utbildning med huvudämnet Kultur Medier och Estetiska uttrycksformer. Syftet är att undersöka hur relevanta mina mediekunskaper är för verksamheten ute på skolorna. Jag har gjort ett medieprojket i en åk 2-3. Min frågeställning är: Hur kan styrdokumentens direktiv om medieundervisning omsättas i praktiken? Jag har använt mig av enkät, video, intervju och dagboksanteckningar som metodunderlag. Elever kan förhålla sig kritiska till media. Men det förutsätter att vi lär dom utifrån deras erfarenhetsområden och fokuserar på estetisk form istället för innehåll. Att använda media i undervisning kan ge upphov till en både individuell och social process. Det råder stor osäkerhet bland pedagoger hur mediaundervisning ska utformas. Därför tvivlar jag inte på att mina kunskaper är relevanta i skolpraktiken.

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