This thesis is concerned with a critical analysis from a Moslem's point of view of Sir Richard Burton's works relating to the Arab World and Islam. The research will attempt to establish the merits and shortcomings of Burton's works in the light of the proposed research. It will, however, at the same time attempt to establish from internal evidence the extent and nature of Burton's knowledge of both Arabic and Islam. The thesis is divided into seven chapters, each of which deals with one or more of Burton's works. Chapter one deals with Burton's pilgrimage to Mecca and El-Medinah. Chapter two deals with the collection of proverbs "Proverbia Communia Syriaca." Chapter three covers Burton's Kasidah and discusses his interest in Sufism and spiritualism. Chapter four concentrates on his translation of The Arabian Nights paying particular attention to the annotations and "Terminal Essay." Chapter five deals with The Perfumed Garden and tries to make a comparison between Burton's translation and its Arabic original in order to estimate to what extent could Burton's Garden be taken as a representative of the original. Chapter six deals with Burton's three essays The Jew, The Gypsy and El-Islam. This chapter concentrates on Burton's religious loyalty and also points out the true reasons behind writing these essays. Chapter seven touches upon almost all his other works and translations. It attempts to establish and prove the fact that the study of the grabs and Islam and the interest in them was a life-long obsession with Burton rather than a temporary occupation. The conclusion attempts to put together the findings of all the other chapters. However, it will concentrate on pointing out where did really Burton's religious and racial loyalties lie as well as give a brief and concluding comment of the nature and extent of his knowledge of both the Arabic language and Islam. The eight appendixes that follow the research include technical data ranging from Burton's background reading to the listing of topics he studied or referred to in the Moslem religion.

Syftet med denna uppsats är att undersöka hur kvinnorna i BBCs serie ”Sherlock” representeras och förhåller sig till traditionella könsroller. Då serien är en nytolkande version som utspelar sig på 2000-talet till skillnad från originalen som utspelar sig drygt 100 år tidigare blir det intressant att undersöka hur mycket som förändras från originalen av Sir Arthur Conan Doyle. Karaktärerna har genomgått stor förändring genom denna nytolkning, och även nya karaktärer har skapats för serien. I analysen kommer bland annat Connells teorier om genus att användas för att definiera genus och fastställa hur en man och kvinna bör vara enligt samhällets normer, detta kompletteras med D.H Meehans definierade stereotyper. Två avsnitt av serien kommer att användas i analysen, med fokus på tre kvinnliga karaktärer: En som återfinns i originalen, samt två nya. Dessa karaktärer kommer att analyseras genom att undersöka utvalda scener där de samspelar med Sherlock Holmes. Analysen sker genom en semiotisk analys, samt kvalitativ textanalys. Jag använder mig av Roland Barthes begrepp denotation och konnotation vid scenanalysen, detta för att undersöka vad som utmärker kvinnorna i serien. Egenskaperna dessa kvinnor besitter kommer sedan att ställas mot mina valda teorier, detta för att fastställa hur väl karaktärernas genusmönster överensstämmer med stereotypiska tolkningar, slutligen kommer de valda avsnitten att analyseras och jämföras bredvid originalen av Sir Arthur Conan Doyle. En kvalitativ textanalys kommer att göras av två utvalda texter om serien i fråga, en som anser att serien är sexistisk och mansdominerad och en som talar mot detta. Textanalysen görs för att undersöka publikens tolkningar och för att förstå varför serien väckt debatt. I mitt resultat har jag funnit vissa egenskaper för karaktärerna som stämmer överens med den teoretiska ramen, även om alla egenskaper inte kunde appliceras på karaktärerna i fråga. Kvinnorna framställs ofta som känslosamma, emotionellt splittrade och även beroende av männen omkring dem. De nya karaktärerna identifieras ofta som känslosamma och genom sitt förhållande till männen, medan Irene Adler som uppgraderats från originalen portträtteras som en emotionell och känslostyrd kvinna som behöver mannens beskydd. Jag har funnit gränsöverskridande i vissa karaktärer, där manliga och kvinnliga egenskaper blandats. Slutsatsen blir att det finns mönster för hur genus porträtteras i serien som återfinns i mediestereotyper. Även textanalysen bidrog till att stärka denna teori, då det varit viktigt att förstå vilka frågor serien väckt och varför. Nyckelord: BBC Sherlock, Sherlock Holmes, Sir Arthur Conan Doyle, Semiotisk analys, textanalys

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John Forbes White's contribution to the history of Art in Scotland was, for the first seventy years after his death, mentioned only in passing by the main writers on Scottish art of the day. However, two of his daughters, Ina Mary Harrower and Dorothea Fyfe, both wrote articles on aspects of their father's collecting: Ina publishing "Private Picture Galleries, The Collection of John Forbes White" in Goodwords in 1896 (pp 813-819), John Forbes White (Edinburgh) in 1918 and in 1927, "Jozef lsraels and his Aberdeen Friend" for the Aberdeen University Review (pp 108-122). A noted art historian, Ina reflected her father's taste and collecting interests in her own writings, as with, for example, "Studies of Fruit by Courbet" Apollo (Vol. L No 296 1949 pp 95-98). Dorothea, with her co-author C.S. Minto, published John Forbes White, Miller, Collector, Photographer 1831-1904 (Edinburgh 1970). The only other writers who have examined White's contribution to art in any detail were Charles Carter, who as curator of Aberdeen Art Gallery, covered art and patronage in the North-East of Scotland in numerous articles and outlined White's contribution in "Art Patronage in Scotland: John Forbes White" published in the Scottish Art Review,(Vol VI, no 2, 1957, pp. 27-30). Frances Fowle, on completion of her PhD on Alexander Reid, also discussed White's tastes in "The Hague School and the Scots, A Taste for Dutch Pictures" (Apollo August 1991 pp 108-111). George Reid was still less favoured by critics after his death. With J.L. Caw championing James Guthrie and William MacTaggart, the innovative and influential aspects of Reid's art were obscured, reduced and even sometimes credited to others. W.D. McKay in The Scottish School of Painting (London 1906) had played down Reid's part in the introduction of Realism into Scotland and Agnes McKay in her monograph on Arthur Melville (Lee on Sea, 1951) went furthest of all in portraying Reid as the enemy of a younger, more innovative group of artists, who included the subject of her book. It was to be another thirty years before Dun can Macmillan would examine Reid, in Scottish Art 1460-1990 (Mainstream, 1990) as an important landscape painter, rather than, as had been the case before, as a reactionary president of the Royal Scottish Academy and an extremely dull, if talented, portrait painter. One year later John Morrison, having completed his PhD Rural Nostalgia: Painting in XIX Scotland c.1860-1880 (St Andrews 1989) wrote of Reid's important European contacts and of the vital relationship between White and Reid in "Sir George Reid in Holland, his work with G.A. Mollinger and Jozef Israels" (Jong Holland 1991 No 4 pp 10-19). Both the assets and the faults of Alexander Macdonald's collecting were examined by Charles Carter in "Alexander Macdonald 1837-1884 - Aberdeen Art Collector" (Scottish Art Review, Vol V, no 3, 1955, pp. 23-28) and again by Francina Irwin in an exhibition catalogue entitled Alexander Macdonald: From Mason to Maecenas in 1985. My main source of material has come from the uncatalogued archive of correspondence between George Reid, John Forbes White, Jozef Israels, George Paul Chalmers, David Artz, Gerrit Mollinger, Samuel Smiles and others, most of which is housed in Aberdeen Art Gallery. Reid's unpublished autobiography, transcribed by his wife Mia, (in the same archive) was also of great use, as was an unpublished but almost complete catalogue raisonne of Reid's work, compiled, probably by Percy Bate or Harry Townend c.1912. I have also made extensive use of the papers of James Pittendrigh Macgillivray which are held by The National Library of Scotland. The descendants of John Forbes White made the works and letters in their possession freely available to me. These included the correspondence between John Forbes White and William Stott of Oldham which is cited in Chapter 6. Elements of this thesis, and particularly sections 2,3, & 4 of Chapter 4, appeared in a revised form in "Art and Patronage in Aberdeen 1860-1920", a paper that I delivered at the Scottish Society of Art History's conference on Patronage, and which was published in The Journal of the Scottish Society for Art Historians (Volume 3 1998 pp 16-24). The sixth section of Chapter 5 appeared in a revised form, in An Album of Photographs compiled by Sir John Everett Millais PRA published in Studies in Photography (Edinburgh, 1997). The discussion of the influence of Ancient Greece and Classicism in the eighth section of Chapter 7 was included in a paper entitled John Forbes White, The Classical Tradition and Ideals In Art given at the conference on "The Role of Collections In The Scottish Cultural Tradition", which was held at Aberdeen University in 1998. The third section of Chapter 7 appeared in a revised form in Robert Brough (Aberdeen Art Gallery, 1995). Appendix A contains relevant excerpts from letters and text, on which much of my research was based whilst Appendix B lists the works of art owned by John Forbes White.

It has been shown that the cosmic censorship conjecture holds for polarized Gowdy spacetimes. In the more general, unpolarized case, however, the question remains open. It is known that cylindrically symmetric dust can collapse to form a naked singularity. Since Gowdy universes comprise gravitational waves that are locally cylindrically symmetric, perhaps these waves can collapse onto a symmetry axis and create a naked singularity. It is known that in the case of cylindrical symmetry, event horizons will not form under gravitational collapse, so the formation of a singularity on the symmetry axis would be a violation of the cosmic censorship conjecture.To search for cosmic censorship violation in Gowdy spacetimes, we must have a better understanding of their singularities. It is known that far from the symmetry axes, the spacetimes are asymptotically velocity term dominated, but this property is not known to hold near the axes. In this thesis, we take the first steps toward understanding on and near axis behavior of Gowdy spacetimes with space-sections that have the topology of the three-sphere. Null geodesic behavior on the symmetry axes is studied, and it is found that in some cases, a photon will wrap around the universe infinitely many times on its way back toward the initial singularity.

本篇論文討論的是SIR模型的反應擴散方程 　　　　　　　　　s_t = d_1 s_xx − βsi/(s + i), 　　　　　　　　　i_t = d_2 i_xx + βsi/(s + i) − γi, 　　　　　　　　　r_t = d_3 r_xx + γi, 之行進波的存在性，其中模型描述的是在一個封閉區域裡流行疾病爆發的狀態。這裡的 β 是傳播係數，γ 是治癒或移除(即死亡)速率，s 是未被傳染個體數，i 是傳染源個體數，d_1、d_2、d_3分別為其擴散之係數。 　　我們將使用Schauder不動點定理(Schauder fixed point theorem)、Arzela-Ascoli定理和最大值原理(maximum principle)來證明：該系統存在最小速度為c=c*:=2√(d2( β - γ ))之行進波解。我們的結果回答了[11]裡所提出的開放式問題。 / In this thesis, we study the existence of traveling waves of a reaction-diffusion equation for a diffusive epidemic SIR model 　　　　　　　　　s_t = d_1 s_xx − βsi/(s + i), 　　　　　　　　　i_t = d_2 i_xx + βsi/(s + i) − γi, 　　　　　　　　　r_t = d_3 r_xx + γi, which describes an infectious disease outbreak in a closed population. Here β is the transmission coefficient, γ is the recovery or remove rate, and s, i, and r rep-resent numbers of susceptible individuals, infected individuals, and removed individuals, respectively, and d_1, d_2, and d_3 are their diffusion rates. We use the Schauder fixed point theorem, the Arzela-Ascoli theorem, and the maximum principle to show that this system has a traveling wave solution with minimum speed c=c*:=2√(d2( β - γ )). Our result answers an open problem proposed in [11].

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Made available in DSpace on 2015-04-14T13:54:54Z (GMT). No. of bitstreams: 1 405527.pdf: 1384202 bytes, checksum: 94fde6f38dad412971d0d20bf7877639 (MD5) Previous issue date: 2008-08-29 / A tese tem como objeto de estudo a concep??o de verdade e sua rela??o com a base emp?rica. Investiga a possibilidade de o conhecimento coincidir com seu objeto, tornando as teorias verdadeiras. O racionalismo cr?tico ? o contexto no qual Popper desenvolve esse debate. Nossa proposta investiga a transforma??o da filosofia popperiana, de uma no??o inicial em que sequer aparece a terminologia verdade e falsidade, passando pela aceita??o da certeza quanto ? falsidade de proposi??es emp?ricas, at? a relativiza??o de tais conceitos. Aponta o risco de ceder integralmente ao ceticismo e faz perceber que o autor lan?a m?o de uma metaf?sica evolucion?ria como subs?dio para sua filosofia das ci?ncias. O estudo evidencia claro que Popper foi contradit?rio ao negar a indu??o e retom?-la em sua id?ia de aproxima??o da verdade; foi superficial relativamente ? teleol?gica id?ia regulativa da verdade e; foi ing?nuo ao conceber a base emp?rica como decisiva em um falibilismo restrito. A tese mostra que ele aceitou seus erros e os corrigiu; prop?s a verdade e a aproxima??o da verdade como par?metros para a cr?tica e; aceitou que a apreens?o te?rica do mundo s? ? poss?vel por representa??es na linguagem. Com tal procedimento, Popper venceu o positivismo e as teses antiliberais substituindo a meta de fundamenta??o pela id?ia de cr?tica. Seu instrumental conceitual p?s-positivista permite a interpreta??o da ci?ncia como altamente din?mica, complexa e criativa, em um universo cujas contradi??es te?ricas s?o inevit?veis e o pluralismo conjectural permite desvendar a realidade de forma mais abrangente.

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Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.