John le Carré’s novels “The Spy Who Came in From the Cold” (1963), “Tinker, Tailor, Soldier, Spy” (1974), and “The Tailor of Panama” (1997), focus on how the main characters reflect the somber reality of working in the British intelligence service. Through a broad post-structuralist analysis, I will identify the dichotomies - good/evil in “The Spy Who Came in From the Cold,” past/future in “Tinker, Tailor, Soldier, Spy,” and institution/individual in “The Tailor of Panama” - that frame the role of the protagonists. Each character is defined by his ambiguity and swinging moral compass, transforming him into a hybrid creation of morality and adaptability during transitional time periods in history, mainly during the Cold War. Le Carré’s novels reject the notion of spies standing above a group being celebrated. Instead, he portrays spies as characters who trade off individualism and social belonging for a false sense of heroism, loneliness, and even death.

This dissertation examines the U.S. government’s covert use of religion during the Cold War. The research investigates, “How and why did the U.S. government instrumentalize and operationalize religion in the Cold War as a part of its covert intelligence operations?” The inquiry utilizes an historical methodology interweaving the academic disciplines of history, religious studies, and international relations. Archival research from sixteen government, national security, university, religious and private archives, as well as personal interviews, provides the foundation for the narrative. Prior to this dissertation, no published work has attempted to present a comprehensive examination of covert operations and religion during the Cold War. Snippets and stories appear in the literature of the Cold War, as well as the memoirs of intelligence operatives. Studies on religion and missionary activity during the Cold War era reveal the involvement of religious leaders in clandestine activities. However, no previous work has attempted to consolidate the historical fragments into a comprehensive story. This dissertation begins with an overview of religion and spying leading up to World War II and the creation of the US Office of Strategic Services (OSS), where the US government first employed religion as a covert tool. At war’s end, former OSS agents entered the newly formed Central Intelligence Agency (CIA), bringing with them the expertise and networks necessary to operationalize religion in clandestine activities. CIA officials like Allen Dulles, Kermit Roosevelt, Miles Copeland, William Eddy and James Jesus Angleton did not hesitate to use religion as a transactional tool. In addition, American clergymen, missionaries, and evangelist Billy Graham covertly collaborated with the CIA. U.S. presidents, the National Security Council, the CIA and other intelligence agencies were actively involved in formulating policies that weaponized religion. The term “blowback” refers to the “unintended consequences” of covert operations. The term was first used by the CIA in its official history of Operation TPAJAX – the 1953 Iran coup d’état overthrowing Mossadegh – where religion was used by the CIA. During the Cold War, religion in covert operations produced for the US government and religious institutions both intended and unexpected consequences. / 2026-09-30T00:00:00Z

The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv. / Arts, Faculty of / English, Department of / Graduate

No description available.

Jean-Henri Maubert de Gouvest, né à Rouen en 1721, est un aventurier des Lumières. Son parcours tumultueux l’inscrit pleinement au sein de la famille polymorphe et bigarrée des chevaliers de fortune étudiée par Suzanne Roth et Alexandre Stroev. De fait, rompant les relations avec sa famille, Maubert entre chez les Capucins dès l’âge de 17 ans mais envoie rapidement son froc aux orties et s’échappe du couvent. Fugitif, il ne peut retourner auprès des siens et ses pérégrinations le portent alors à travers toute l’Europe, à l’instar d’Ange Goudar ou de Casanova. Au gré de ses voyages, notre chevalier de fortune joue le rôle de précepteur en Pologne, de journaliste aux Provinces-Unies ou d’espion pour le compte de la France, différents métiers évoqués par André Warzée, Jeroom Vercruysse, Pierre Coquelle ou Edmond Dziembowski, dans leurs travaux respectifs sur la presse et la guerre de Sept Ans. Développant des relations avec certains hommes d'Etat et de nombreux autres aventuriers au fil de ses péripéties, Maubert se constitue un véritable réseau et concentre entre ses mains de la matière pour écrire, se muant peu à peu en aventurier d’écritoire. Ses faibles revenus et son mode de subsistance le placent alors plutôt dans la catégorie des « Rousseau des ruisseaux » analysée par Robert Darnton. Vivant d’expédients, Maubert réussit à s’attirer les bonnes grâces d’un mécène : Cobenzl, ministre plénipotentiaire à Bruxelles avec lequel il entretient une correspondance. Malgré l’aide de son bienfaiteur, Maubert est contraint de produire une littérature alimentaire offrant à ses lecteurs une vision originale du XVIIIe siècle filtrée par son parcours personnel. Polygraphe, il s’intéresse à l’éducation, à la politique, à la religion et réécrit certains ouvrages de Voltaire. Sa carrière de littérateur s’achève néanmoins assez rapidement. Contraint de quitter Bruxelles pour Amsterdam où ses créanciers le rattrapent, il est emprisonné pendant près de dix-huit mois et se retrouve pris dans la tourmente d’un interminable procès. Sorti de prison dans un état de santé déplorable, Maubert meurt en 1767, à Altona, dans des circonstances troublantes. Son œuvre littéraire, aujourd’hui méconnue, est pourtant riche d’une trentaine de titres et gagnerait à être redécouverte par les historiens. Ainsi, en analysant la spécificité de ce réseau satellisé autour de Maubert, il nous intéresse d'établir si et, le cas échéant, de quelle manière, les différents membres de ce groupe sont représentatifs et vecteurs des idées des Lumières. Plus qu’une simple réhabilitation de l’œuvre ou de l’auteur, nous nous attachons dans ce travail à étudier les relations et les écrits d’un homme qui est à la fois témoin et acteur du siècle. / Jean-Henri Maubert de Gouvest, born in Rouen in 1721, was an Enlightenment adventurer. With his tumultuous career, he is fully in line within the polymorphous and variegated family of fortune knights studied by Suzanne Roth and Alexandre Stroev. In fact, by breaking relationships with his family, Maubert entered the Capuchin order at the age of 17 but when he quit the religious habit, he left the convent. Becoming fugitive, he could not return to his family and his peregrinations carried him all over Europe, like Ange Goudar or Casanova. Throughout his travels, our knight of fortune played the role of tutor in Poland, journalist in the United Provinces or spy for France. Different occupations evoked in André Warzée, Jeroom Vercruysse, Pierre Coquelle or Edmond Dziembowski’s works on the press and the Seven Years' War. By developing relationships with some statesmen and many other adventurers over the course of his adventures, Maubert created a real network and thus shaped enough material to write, gradually becoming an “aventurier d’écritoire”. His low income placed him in the category of "Rousseau des ruisseaux", analyzed by Robert Darnton. Living precariously, Maubert succeeded in attracting the good graces of a patron : Cobenzl, a plenipotentiary minister in Brussels with whom he maintained a correspondence. Despite the help of his benefactor, Maubert was forced to produce a literature only to survive, offering his readers an original vision of the eighteenth century filtered through his own experience. Polygraphe, he was interested in education, politics, religion and rewrote some of Voltaire’s works. Nevertheless, his literary career ended fairly quickly. Forced to leave Brussels for Amsterdam where his creditors caught up with him, he was imprisoned for nearly eighteen months during his endless trial. Leaving prison in a deplorable state of health, Maubert died in 1767, in Altona, in troubling circumstances. His literary work, unknown today, is however rich, including about thirty titles and would benefit being rediscovered by the historians. Thus, by analyzing the specificity of Maubert's network, we are interested in establishing whether and in what way, the different members of this group are representative and vectors of Enlightenment ideas. More than a rehabilitation of the literary artwork or of the author, we focus in this work on the study of the relationships and writings of a man who was both a witness and an actor of the Enlightenment.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 347-361).

Σχεδιασμός και υλοποίηση της πύλης Πόρων του Web Enginnering (WEP), με αποθήκευση και διαχείριση πληροφορίας σε XML/ XML-Schema/ XML-Stylevision Forms, χρήση wiki και προηγμένοι τρόποι πλοήγησης σε ιεραρχικό περιεχόμενο / Design and implementaton of Web Enginering Resources Portal (WEP), XML base system, use of XML-Schema/ XML-Stylevision Forms, wiki platform and advanced ways of piloting in categorized information

Biennial bearing, low precocity, and vigorous vegetative growth are major production constraints of ‘Northern Spy’ apple trees. Experiments were conducted in bearing and non-bearing ‘Northern Spy’/M.9 orchards to determine whether plant bioregulator applications of ethephon (ETH), napthaleneacetic acid (NAA), prohexadione-calcium (P-Ca), and/or benzyladenine (BA) could be used to overcome these production constraints of ‘Northern Spy’. Ethephon application at 150, 300, or 450 mg∙L-1 in the ‘on’ year increased return bloom, fruit yield, and alleviated biennial bearing in the ‘off’ year in a positive linear relationship to concentration when trees were moderately biennial in cropping. Applications applied 22 June were more effective than 27 July or 31 Aug. applications. However, single or multiple (2, 3, or 4) application(s) of 150 mg∙L-1 ETH or 5 mg∙L-1 NAA were ineffective when trees were not biennial. Two ETH applications at 1500 mg∙L-1 to non-bearing trees significantly increased flowering and fruit yield the year following treatment. The combination of P-Ca with ETH had an additive effect on shoot growth and improved growth control compared to P-Ca alone. Two BA applications at 500 mg∙L-1 had no effect on lateral branching of young trees. / Chudleigh's Limited, MITACS Accelerate

On April 21, 2001, the United States and China faced their first major incident of the 21st century when a U.S. spy plane accidentally collided with a Chinese fighter plane. The dialogue that followed between the two countries, as well as the tenor of the incident as reported in the international press, provide some interesting and insightful glimpses into how these major powers handled the incident in the days and weeks that followed. Although the mainstream media in both China and the United States reported the key facts and elements of the incident in a similar fashion, the spin that was ultimately placed on the event by the Chinese press was clearly indicative of the Asian state's desire to portray the United States as being at fault; however, because both countries have an enormous stake in ensuring continued friendly relations for trade purposes, the Chinese press eventually adopted an official position that would allow the United States to "save face" while ensuring that the killed Chinese pilot involved was lauded as a fearless hero of the state and a martyr to its cause. To determine how these events played out in the respective mainstream media of China and the United States, as well as the international media, this research provides a review of the relevant literature to identify how the spy plane collision was portrayed, what elements are regarded as important for analysis. This study compares the two accounts from China and the U.S., and to a lesser extent, the international media, by grouping the media accounts into three separate dimensions: 1) visual framing, 2) contextual framing and 3) operational framing, to determine how these factors played out in the spy plane incident. The analysis of the media accounts is followed by a summary of the research in the concluding paragraph.