En rapport avec la tradition du poète-historien du vingtième siècle, la poétique documentaire pratiquée par Ezra Pound et Susan Howe de manières distinctes mais liées sert de base à une étude de la matérialité complexe au sein du processus compositionnel des deux écrivains. Fondée sur les matériaux d'archives des deux séquences, une analyse détaillée des « Malatesta Cantos » de Pound et de « Marginalia de Melville » de Howe permet une réflexion sur le développement de la transformation typographique dans le domaine de la poésie. Tout au long de cette critique, Steven Paschall aborde les processus de la signification de la matérialité en parallèle aux conceptions et expériences Poundiennes et Howiennes de l'archive historique et de la production littéraire. Pour Pound l'interprétation du quattrocento et de la saga de Sigismond Malatesta, et pour Howe celle des notes marginales et des ébauches manuscrites, a mené à la composition des poèmes innovateurs qui, à partir des sources textuelles, redéfinissent les idées conventionnelles de l'historiographie et de la pratique interprétative poétique au moyen des techniques structurelles et formelles. En examinant les opérations de l'appropriation littéraire, de la révision du langage écrit et de la page visuo-spatiale, Paschall avance un lien généalogique entre la matérialité archivistique du « poème contenant l'histoire » de Pound et les expériences visuelles d'articulation effectuées dans les reconfigurations palimpsestiques de Howe. / Set against the tradition of the 20th-century poet-historian, the documentary poetics practiced in distinct yet related ways by Ezra Pound and Susan Howe serves as the basis of this study's investigation of the complex materiality underpinning each writer's compositional process. Pound's "Malatesta Cantos" and Howe's "Melville's Marginalia" are the focus of detailed analysis specifically grounded in the archival materials for each sequence in order to explore the development of typographic metaphrasis. Throughout this critical work, Steven Paschall sets the processes of materiality's signification in parallel to Pound and Howe's conceptions of, and engagements with, the historical archive and literary production. Pound's reading of the quattrocento and the saga of Sigismondo Malatesta, and Howe's reading of marginalia and manuscript drafts, resulted in unique source-based poems, the structural and formal techniques of which redefine conventional notions of historiography and interpretative poetic practice. In addressing the mechanics of literary appropriation, editing written language, and the visio-spatial page, Paschall asserts a genealogical thread between the archival materiality of Pound's "poem containing history" and the visual experiments in articulation of Howe's palimpsestic reconfigurations thereof.

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Le thème de cette thèse est le droit des femmes à la fin du dix-huitième siècle dans les romans de l’auteure britannique Jane Austen. L’abus psychologique (et parfois physique) entre femmes est omniprésent au moment où le sujet de l’égalité entre hommes et femmes est à son apogée. Depuis la publication du volume Jane Austen and the War of Ideas de Marilyn Butler, on ne limite plus nos interprétations aux significations littéraires des romans, au contraire, elles se multiplient dans les champs culturels, sociaux, économiques... Ceci permet de mieux comprendre l’époque reflétée dans ses oeuvres. Les interactions humaines se compliquent: les mères essayent à tout prix de « vendre » leurs filles à l’homme le plus riche. Pour ce faire, ces mères résistent aux normes patriarcales. De plus, les femmes veuves sont problématiques car leur statut social ne peut pas être défini. Austen peint et critique les veuves autonomes qui essayent vigoureusement d’exercer leurs pouvoirs à travers leur sexualité et en manipulant leur vocabulaire dans le but de monter dans l’échelon social. En fait, les femmes de tous âges et toutes classes essayent de manipuler les autres pour leurs gains personnels. L’obtention de pouvoir fait en sorte que ces femmes compétitives ne créent pas une société inclusive: elles se marginalisent encore plus. Ce combat interne permet d’autant plus aux hommes d’injurier les femmes. Finalement, avec la montée du cinéma de nos jours, les oeuvres d’Austen sont traduites pour atteindre un grand nombre de spectateurs. Parmi la panoplie de films, l’abus est traduit et interprété à différents degrés. / The focus of this study is women’s rights in Jane Austen’s novels. Despite the increasing awareness of individuality and human rights, psychological (and often physical) abuse exists. After Marilyn Butler’s seminal study Jane Austen and the War of Ideas, Austen is better understood within the contexts of her time. Human relationships are much more complicated as mothers try to “sell-off” their daughters to the highest bidder. These women attempt to secure their own financial future regardless of their children’s wishes or patriarchal norms. Moreover, widows who once exercised power through their husbands see this power relinquished, as society tries to identify their social status. Austen criticizes independent widows who try to obtain power by using their sexuality and manipulative language. The need for control spreads to all females no matter their social standing. This develops a competitive nature amongst them that limits the growth of society. This lack of unity allows men to abuse women themselves. Finally, with the advent of film studies, it is important to look at Austen novels translated into this media. Directors interpret abuse in various degrees, but most acknowledge its presence.

Zugl.: Tübingen, University, Diss., 2007.

Notre thèse explore les multiples voies proposées par Anne-Marie Albiach, Myung Mi Kim et Susan Howe pour organiser visuellement l’espace de la page. L’usage de la dimension visuelle en poésie ouvre des possibilités que le Verbe a toujours eues : dépeindre, se dédoubler, et produire un écho visuel et sonore. La dimension du voir permet également la création de paradoxes par des juxtapositions d’éléments. Tout cela met en question le statut du langage et du langage poétique. Cette thèse étudie les moyens par lesquels des poésies interpellent leurs lecteurs et continuent à produire des significations qui dépassent par leur multiplicité la formation traditionnelle du sens. Ces œuvres créent des significations que l’on doit voir, et non comprendre, par le biais d’une lecture plurielle de composants [iconographiques, linguistiques, abstraits, sériels]. On prend comme point de départ l’étude des typologies du fragment et illustre comment la discrétion visuelle du fragment est intimement liée au développement de chaque poète. On interroge le rapport du mot à l’image afin de dégager des antécédents des procédés utilisés sur la page. On confirme que ces œuvres emploient des techniques « iconiques », comme le faisaient les calligrammes d’Apollinaire, mais y associent les techniques mallarméennes en étendant la lecture sur plusieurs pages. Les poésies de Howe, d’Albiach et de Kim présentent une synesthésie totale des correspondances entre des formes jusqu’à-là exploitées séparément. Par conséquent, ces œuvres radicalisent la notion de possible poétique en assimilant les techniques de la publicité, de la pop culture, du collage et du montage. / This dissertation explores the diverse ways in which the work of Anne-Marie Albiach, Myung Mi Kim and Susan Howe visually organise the space of the page. The use of poetry’s visual dimension enlarges the traditional possibilities of the Word: to depict, multiply and produce an echo which is simultaneously resonant and visual. Exploiting the gaze also creates paradoxes through the juxtaposition of various elements. All of this calls into question the status of language, and poetic language in particular. This dissertation studies the ways these poets engage their readers as they produce a plurality of meanings which extend far beyond traditional sense-making. These works have significations which need to be seen rather than understood, via a reading process of its multifarious components [iconographic, linguistic, abstract, in series]. This study’s point of departure is the consideration of various types of fragments which illustrate how the fragment’s visual subtlety is intimately linked to each poet’s development. Connections between word and image are closely examined in order to locate the antecedents for the procedures being applied to the page. These works use “iconographic” techniques much as Apollinaire did in his calligrammes, while associating with these Mallarmé’s methods of drawing a poem’s reading out over numerous pages. The poetries of Howe, Albiach and Kim present a synesthesia of correspondences between all the forms which had heretofore been used separately. Consequently, these works radicalize the notion of what is possible in poetry by assimilating advertising, pop culture, collage and montage techniques.

Urbanplanering är idag ett aktuellt ämne. Under 1900-talet har Sverige haft en socialistisk syn på urbanplanering men under de senaste två decennierna har detta ändrats mot ett nyliberalt synsätt. Nyliberalism innebär ett styrsystem präglat av governance med ett vinsttänkande som prioriterar ekonomiska värden, något som genomsyrar all urbanplanering idag enligt den amerikanske urbanforskaren Susan S. Fainstein. Fainstein har tagit fram en teori om Den rättvisa staden där hon utvecklat tre grundläggande sociala rättvisevärden i urban samhällsplanering. För att uppnå Den rättvisa staden behövs tre rättvisevärden: demokrati, mångfald och jämlikhet. Denna studie applicerar hennes teori i en fallstudie om Södra infarten i Halmstad. Metoden som använts är kvalitativa intervjuer med politiker och tjänstemän, kombinerat med en textanalys. Studiens slutsats är att Halmstads kommun enbart uppfyller tre av nio kriterier utifrån den operationalisering vi gjort av Fainsteins rättvisevärden. Detta innebär att kommunens urbanplanering för Södra infarten inte uppfyllde något av de tre värdena för Den rättvisa staden.

This study focuses on the relationship between the author’s narrative craft and the potential for the reader’s empathetic response. Specifically, it discusses how an anachronous narrative structure provides the author with different ways to promote empathy. The discussion of empathy is key in the discussion of narrative craft: great characters are those a reader can empathise with. But the discussion of empathy runs deeper than this, with many scholars turning to the wider effects literature can have on a reader’s moral compass (Nussbaum 1997) and even their real-world behaviour (Keen 2007). This study sets aside the question of how to produce empathy and turns instead to the author’s craft. I have assessed the author’s capability of promoting empathy by building a framework of tools for the author (dubbed The Empathy Toolbox) from several studies conducted by narratology theorists. I have then analysed this in relation to my own work and that of Audrey Niffenegger and Kurt Vonnegut with a particular focus on characterisation and how this is affected by anachrony. This study is of value to all writers of creative fiction, as anachronous timelines can be employed across a breadth of genres using plot devices like flashbacks, flash-forwards and dream sequences. Furthermore, it provides authors with tools to aid their craft and help their work resonate with any reader, not just those that might have a similar background to their protagonist.

Thesis advisor: Ronald K. Tacelli / This dissertation aims to examine the notion of 'human dignity' in Kant by means of a conversation with three Kantian scholars. One cannot understand Kant's notion of human dignity without placing it in the context of his moral thought. For this reason we look in Chapter One at the philosopher Roger Sullivan. His major work Immanuel Kant's moral theory includes a highly detailed treatment of human dignity. I shall present an analysis of his understanding within the context of his methodology and his general approach to Kant's moral philosophy. We look in Chapter Two at Susan Shell and her 'Kant on Human Dignity.' In addition to this, we consider Shell's methodology and some of her work on the early Kant where we find the roots of Kant's conception of dignity. Chapter Three addresses Oliver Sensen and his novel interpretation of Kant's use of the term 'dignity.' Utilizing the tools of Analytical Philosophy, he enters into dialogue with Kantian interpreters, suggesting that their understanding of dignity in Kant harbours elements at odds with Kant's thought and that they thus fail to grasp the radical nature of Kant's notion. In the final and Fourth Chapter, I try to bring these scholars into a conversation with each other. First, I show the strengths of each position and then, using insights of Sullivan, Shell and Sensen, I venture to ask whether one could not develop the notion of a phenomenology of dignity. I also consider whether in both Shell's and Sensen's account there is not an implicit dynamic at work, which suggests the necessity of transcendence and the Good. / Thesis (PhD) — Boston College, 2014. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Abstract Self- perception is defined as the “distinctive combination of personality characteristics and social style by which one defines oneself and by which one is recognized by others” In children, self-perception can influence how they will approach a new situation, whether that is in school, at home, or a public outing with their family. Our study aims to expand on this research by defining the relationships between proximal influences, global self- worth, self- perception, behavioral conduct and how youth’s temperament influences these variables. We will be using the Rothbart Temperament Questionnaire and the Susan Harter Self- Perception Profiles to obtain data for our study. We hypothesize that youth’s temperament will affect two specific domains on the Susan Harter Self- Perception Profiles. We found that based on parents’ reports of their child’s temperament, a higher level of negative affectivity decreases the child report of self-perceived behavioral conduct.