The ring of symmetric functions Λ, with natural basis given by the Schur functions, arise in many different areas of mathematics. For example, as the cohomology ring of the grassmanian, and as the representation ring of the symmetric group. One may define a coproduct on Λ by the plethystic addition on alphabets. In this way the ring of symmetric functions becomes a Hopf algebra. The Littlewood–Richardson numbers may be viewed as the structure constants for the co-product in the Schur basis. The first part of this thesis, inspired by the umbral calculus of Gian-Carlo Rota, is a study of the co-algebra maps of Λ. The Macdonald polynomials are a somewhat mysterious qt-deformation of the Schur functions. The second part of this thesis contains a proof a generating function identity for the Macdonald polynomials which was originally conjectured by Kawanaka.

Thesis (M.A.)--University of Toronto, 2005. / Includes bibliographical references (leaves 92-96).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tenn., 1999. / Vita. Includes bibliographical references (leaves 122-132).

Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 364-371).

Th. doct.--Lettres. / Notes bibliogr. Bibliogr. p. 266-280. Index.

Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself. / Arts, Faculty of / English, Department of / Graduate

India and Pakistan are two of the world's poorest countries, yet each devotes a substantial portion of its resources to defend itself against the other. What drives these expenditures? Are they internally or externally driven? If externally, how do the countries interact with each other? To try to answer these questions, we apply five models widely used in defense spending studies. If the model performs well, we will assume that the underlying driver of defense expenditure or change in defense expenditure is present. If the model does not perform well, we will assume the driver is absent. Our goal is not to find the single "best" model, but to see if a consistent pattern of behavior emerges for each country through the combination of the models. We conclude that existing models do shed light on the defense spending behaviors of the two countries, although they are by no means the final word and have only limited value for forecasting. The patterns that emerge from empirical testing of the models indicate that: India is far more sensitive to Pakistan's spending than Pakistan is to India's. India is concerned with maintaining a certain level of superiority over its rival, but shows little inclination to spend Pakistan into the ground. Pakistan has run up against its resource constraint and Pakistani leaders have opted to spend what they feel they prudently can on defense rather than try to engage India in an arms race that they would assuredly lose. On the other hand, Pakistan' defense spending bureaucracy is stronger than India's, so that Pakistan finds it more difficult to cut defense spending than does India. / Master of Arts

This paper proposes that Samuel Richardson consciously created the motivational complexity of Clarissa Harlowe. The arguments are the following: eighteenth-century scientific interest in motivation influenced Richardson, his Puritanism led him to suspect and emphasize motive, his frequent use of the word motive suggests an awareness, his choice of the epistolary form is ideal for revealing motives, his attention to the ambiguity of motives indicates his interest, and his complexly motivated Clarissa demands a conscious creator. The last argument constitutes the principal section of the study, and Clarissa's motives are analyzed from the events prior to the elopement, through the rape in London, and finally to her death. She is studied as a product of eighteenth-century decorum, individualism, and Puritanism, but also as an intricate personality.

O século XVIII foi um período de grandes mudanças na estrutura social e econômica vigente. Como conseqüência, a forma de organização do espaço de moradia também se alterou. Houve uma reordenação do espaço doméstico com a criação de lugares privados dentro e fora da casa e a valorização dos jardins ao redor das grandes propriedades rurais inglesas. A ascensão da nova classe média e um crescente interesse pela introspecção e privacidade propiciaram a formação destes espaços reservados ao isolamento. A partir do surgimento do romance na primeira metade do século XVIII, o espaço doméstico viu-se valorizado e descrito com mais atenção na narrativa literária. Este cuidado em retratar a vida doméstica na literatura surgiu a partir do desejo de representar a vida dos homens comuns de modo mais autêntico. Em Pamela, romance do escritor inglês Samuel Richardson publicado pela primeira vez na Inglaterra em 1740, observamos esta ênfase no espaço interior do recolhimento e da introspecção. A relação que se estabelece entre as personagens e o espaço dentro do romance é vital para a construção do enredo. / Great social and economic changes were brought about in the eighteenth-century causing, among other alterations, the rearrangement of the living spaces in the houses. This reorganization of the domestic space was responsible for the creation of private spaces inside and outside the great English country houses together with an improvement in the surrounding gardens. At that time the new middle classes were gaining more and more political and economic power and developing a taste for privacy, which required the creation of specific places inside and outside the houses for the enjoyment of the pleasures of isolation and introspection. With the rise of the novel in the first half of the eighteenth century, this domestic space was also valued, pictured and described with more attention in literature. This increasing interest in the domestic life is associated with a wish to portray the everyday lives of ordinary men with greater authenticity. In Pamela, a novel by Samuel Richardson published for the first time in England in 1740, this emphasis in the private space of isolation and introspection is clearly depicted. The deep correlation between space and characters in the novel is vital for the development of the plot.