Tim Burtons films are largely thought to be exercises in style over content, and film adaptations in general are largely thought to be lesser than their source works. In this project, I argue that Burtons film <i>Sleepy Hollow</i>, an adaptation of Washington Irvings Legend of Sleepy Hollow, expresses his artistic message, that imagination and the irrational are equally valuable lenses through which to view the world as scientific process and reason are, while simultaneously complicating the thematic concerns of the longstanding myth of the headless horseman, the supernatural versus the natural and the irrational versus the rational, and relating them to his personal anxieties about the parent child relationship. I do so by drawing parallels between the film and its immediate source as well as <i>Sir Gawain and the Green Knight</i>, another chapter in the headless horseman myth, and two horror films from the 1960s. I compare the narrative structure, character relationships, thematic concerns, and cultural anxieties expressed in both the film and <i>Sir Gawain and the Green Knight</i> to demonstrate that the film argues for a worldview allowing the natural and the supernatural and the rational and the irrational to coexist. I also point to the visual references Burton makes to scenes from Roger Cormans <i>The Pit and the Pendulum</i> and Mario Bavas <i>La Maschera del Demonio</i>, illustrating the manner in which they complicate the myths thematic concerns. My argument adds to Hand and McRoys assertion that horror film adaptations are a form of myth-making and to the growing sense that there is more to Burtons art than flashy visuals.

Thesis (M. Ed.)--University of Hong Kong, 1987.

No description available.

The two concepts of hypocrisy and heresy are completely disparate in modern use, and yet they were related in two ways during the early modern period. Firstly, both terms were prominent charges in the polemical exchanges of the English Reformation. Consequently, in this thesis they provide useful tools for studying the effects of controversy on language. The meaning of hypocrisy and of heresy was of considerable concern to many controversialists, and yet the resulting attempts at defining these terms contributed to their destabilization and incoherence. These terms were also related in a second respect throughout the early modern period. Given the universal conviction at that time that there was only one “true” church, and given the consequent pressures imposed by churches (both Catholic and Protestant) to enforce conformity to their own religions, it was inevitable that judgements had to be made concerning the convictions and internal beliefs of others. Such judgements were central in charges of heresy and hypocrisy; hence in this thesis the concepts of hypocrisy and heresy provide useful tools for studying early modern understandings of intentionality and judgement. The writings of Sir John Cheke, William Perkins, Bishop Joseph Hall and Sir Francis Bacon are shown to display concern combined with confusion and incoherence over these topics. However, Sir Thomas More’s Dialogue Concerning Heresies is shown to contain an intricate and coherent analysis of intentionality and judgement vis a vis heresy. But, More’s foundation for judgement and knowledge was the consensus fidelium, a foundation which simply was not available to the later Protestant writers. Lastly, Thomas Hobbes’s treatments of hypocrisy and heresy are examined. In effect, Hobbes negated the judgement of intentions where both concepts were concerned. He acknowledged and accepted the separation of internal belief from external profession. Likewise he accepted the impenetrable nature of the human mind and heart in a way his forebears had not. By examining Hobbes’s treatment of these concepts in light of the polemical confusion and conceptual incoherence of the preceeding century, a better understanding of Hobbes’s philosophy is obtained and the relevance of early modern theology for intellectual history is demonstrated.

Epidemic models help researchers understand and predict the nature of a potential epidemic. This study analyzes and improves network evolution technology that evolves contact networks so that simulated epidemics on the network mimic a specified epidemic pattern. The evolutionary algorithm incorporates the novel recentering-restarting algorithm, which is adopted into the optimizer to allow for efficient search of the space of networks. It also implements the toggle-delete representation which allows for broader search of solution space. Then, a diffusion character based method is used for analyzing the contact networks. A comparison of simulated epidemics that result from changing patient zero for a single contact network is performed. It is found that the location of patient zero is important for the behaviour of an epidemic. The social fabric representation is invented and then tested for parameter choices. The response to vaccination strategies (including ring vaccination) is then tested by incorporating them into the epidemic simulations. / Ontario Graduate Scholarship (OGS), Natural Sciences and Engineering Research Council of Canada (NSERC)

In recent years the history of the garden has enjoyed increased attention within scholarly circles. Of particular interest is the history of the formation of the Picturesque garden. The ideas of three men, Richard Payne Knight, Uvedale Price, and Humphry Repton, are central to the evolution of Picturesque theory as related to the garden. The conflict among them has become known as the Picturesque Controversy. Due to misguided interpretations by modern scholars, however, the essence of the dispute has been obscured. Through a discussion of the development of Picturesque theory and a comparison of the actual points of difference between the above mentioned theorists, this paper proposes to expose the essential elements of the debate. It also demonstrates that, while all three participants are attempting to reach beyond the practices of their own century, it is Humphry Repton who distinguishes himself as the true herald of modern society and its attitude toward the garden.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1973.

This dissertation examines the life and complicated career of Sir James Wright (1716-1785), in an effort to better understand the complex struggle for power in colonial Georgia. Specifically, this project will highlight the contest for autonomy between four groups: Britains and Georgians (core-periphery), lowcountry and backcountry residents, whites and Natives, and Rebels and Loyalists. An English-born grandson of Chief Justice Sir Robert Wright, James Wright was raised in Charleston, South Carolina following his father’s appointment as that colony’s chief justice. The younger Wright attended Gray’s Inn in London and served South Carolina in a variety of capacities, most notably as their attorney general and colonial agent prior to his appointment as governor of Georgia in 1761. Additionally, he had a voracious appetite for land and became colonial Georgia’s largest landowner, accumulating nearly 26,000 acres, worked by no less than 525 slaves. As governor, Wright guided Georgia through a period of intense and steady economic growth and within a decade of his arrival, no one could still claim Georgia to be a “fledgling province” as it had become intricately engaged in a transatlantic mercantilist economy resembling South Carolina and any number of Britain’s Caribbean colonies. Moreover, Governor Wright maintained royal authority in Georgia longer and more effectively than any of his counterparts. Although several factors contributed to his success in delaying the seemingly inexorable revolutionary tide, his patience and keen political mind proved the deciding factor. He was the only of Britain’s thirteen colonies to enforce the Stamp Act of 1765. He also managed to stay a step or two ahead of Georgia’s Sons of Liberty until the spring of 1776. In short, Sir James Wright lived a transatlantic life, taking advantage of every imperial opportunity which presented itself. He earned numerous important government positions and amassed an incredible fortune, totaling over £100,000 sterling. His long imperial career, which delicately balanced dual loyalties to Crown and colony, offers important insights into a number of important historiographic fields.

This thesis deals with the concept of the Perfect Man in the thought of both Ibn 'Arabi (560/1165-638/1240) and Iqbal (1877-1938). The concepts of these two figures are analytically compared by way of their views of wujud, the evolutionary process of human being, qada' and qadar, and the classifications of the Perfect Man. In Ibn 'Arabi's system, these concepts are based on wahdah al-wujud and, in Iqbal's system, on his philosophy of Khudi. Although Iqbal criticized many aspects of Ibn 'Arabi's thought, this thesis will show that their concepts of the Perfect Man are quite similar, and that Iqbal was influenced in a number of important ways by Ibn 'Arabi.

The 1632 appointment of Van Dyck as Court Painter by King Charles I changed the course of art in England. But in spite of its importance, the dynamics and mechanics of this event remain imperfectly understood. This paper suggests that one determining factor was the influence of George Villiers, Duke of Buckingham. An early admirer of Van Dyck, Buckingham in turn incarnated the young artist's own aspirations to aristocratic status. For Charles, the Duke was a personal partner and aesthetic alter-ego whose presence in the King's psyche remained strong long after Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shows how the interlocking agendas and affinities of the three men combined to affect the evolution of English art.