published_or_final_version / abstract / Chinese / Master / Master of Philosophy

The author's Habilitationsschrift--Düsseldorf. / Includes indexes. Includes bibliographical references (p. 186-200).

The main body of this creative project is divided into four sections. The first three sections will contain the listing of terminology used in the three main components of the criminal justice system; law enforcement, courts, and corrections. These three sections are further subdivided into three subheadings: terms applying to adult procedures, terms applying to juvenile procedures, and related Supreme Court decisions. The fourth section includes relevant journals and organizations that are related to the three main components of the criminal justice system.The purpose of this creative project is to provide Ball State University Criminal Justice and Corrections students with a listing of criminal justice terminology currently used in the criminal justice system.It is imperative that Criminal Justice and Corrections students at this university have a basic understanding of the terminology used in the criminal justice system, enabling the student to perform satisfactorily in the practical. and academic aspects of the Criminal Justice and Corrections curriculum, and later as a professional in one of the three main components of the criminal justice system.

The author's Habilitationsschrift--Düsseldorf. / Includes indexes. Includes bibliographical references (p. 186-200).

The purpose of this thesis is to analyse the je-ne-sais-quoi through its history and its pre-history. When we are moved by something we cannot identify, but whose effects we cannot fail to recognize, how should we try and come to terms with our experience? The je-ne-sais-quoi rises to prominence as a keyword in such discussions during the period studied. This thesis offers the first full-length study of the word and its significance to literary and philosophical writing of that period. It traces its precursors, its rise as a noun in mid-seventeenth-century France and England, and its fall from grace. Previous historical work has generally restricted the word's application to aesthetics; this study examines its significance in the philosophy of nature and the passions as well as culture. It combines historical method and philosophical enquiry to inform the close analysis of examples. The aim is to consider what the je-ne-sais-quoi is and how it finds expression in writing. A fourfold thesis is proposed, (i) The lexical je-ne-sais-quoi, in its core meaning, refers to an inexplicable force with sudden and vital effects, (ii) This force remains ever on the move by unsettling sedimented words, passing through current ones, and abandoning these as they too undergo sedimentation, (iii) The word history of the je-ne-sais-quoi,/em> encapsulates this movement. The term is first used to unsettle its semantic precursors (by Descartes and others), becomes current in writing of the mid-seventeenth century (that of Corneille and Pascal in particular), but soon settles into the sediment of polite culture (as Méré, Bouhours, and English Restoration comedy show), (iv) Returning the word to the mobile non-substantival forms of its pre-history in Montaigne, to whom a chapter-length study is devoted, uncovers a form of writing that captures the force of the je-ne-sais-quoi better than the settled word itself. The task of literature is to lend form to the je-ne-sais-quoi by naming it in its inexplicable reality and by describing how it falls, like a disaster, into our experience.

No description available.

The Glossary is a fictocritical work which accompanies the novel, New Moon Through Glass, written for my doctorate that encorporates fiction, poetry, analytic and critical text, and which ‘writes back’ to the novel without the interpretive gesture and in doing so interrogates the art of fiction via a fictocritical critique. The generic glossary (a collection of glosses) encapsulates the ‘interpretive gesture’ par excellence — the hermeneutical exercise that criticism’s role has widely been thought to be. Its earliest, medieval form as a commentary (or series of commentaries), translation or exegesis in the margins of or between the lines of a text, reiterates the glossary’s ostensible purpose to explicate rather than create ‘meaning’. As a fictocritical work, The Glossary therefore both interrupts the monolithic architecture of the text through the techniques of the cut and the stitch, and also, by ‘reading between the lines’ of the novel, provides alternative readings; a space for other voices, other texts. In the process the project repositions the glossary before the novel (a reversal of the usual order) inciting a series of readings and re-readings which establish a practice of critical fictionalising and the fictionalising of the critical and an incitement to read in this manner. In the performance, The Glossary ventures to open this Pandora’s Box and in the process reflects on what, as a practitioner, writing is, what reading is, and what is critical practice and what creative. The Glossary is a performance of a distinction put by Bathes as a ‘thinking through’ rather than ‘a residue of critical thought’ (1985: 284) and therefore demands to be read as a fictocritical The Glossary was arrived at after much research and experimentation in my fiction writing practice with footnotes, asides and summarizing (‘the story so far’ style) prefaces or segues and above all definitions, a fascination which might be summarised by the distinction that Charlotte Brontë drew between writing that was ‘real’ and writing that was ‘true’. Fiction often requires realism in order to ring true, and yet the elements of language that give it force owe nothing to realism — its power lies in its imagery, its symmetry, its poetry all of which foreground textuality and intertextuality in a manner congruent with the fictocritical project. The Glossary, ostensibly there to confirm and stabilise knowledge, language and reading practices, shows, by fictionalising the critical, the dependent ordering and silences through the art of character in this knowledge architecture. Far from keeping an ‘objective’ distance, The Glossary generates a parallel text to the novel in which the voice of the author ‘speaks’, and in doing so has much to say, by its multi-vocal presence, about authorial intentions (and anxieties), slippages, ruptures and textual transparencies, opacities and excess; about the ways in which writing is both knowledge and being, knowing and making. The Glossary grew (rhizomically though not randomly) from textual asides, after thoughts and back stories, parallel and divergent interests, arguments, lyricisms, associations, allusions and theories. Eventually The Glossary became a piece of writing performing what could not ‘make it’ into the work of fiction. That a glossary is made up of ����entries���� proved an enlivening form, which generated a different kind of writing practice and a different kind of writing, perhaps not dissimilar to a web log. In making this comparison I am referencing Kerryn Goldsworthy’s comments that ‘blogging’, as ‘dynamic thinking-in-action’, sets its form apart from traditional writing and ‘creates a shift away from the consumer-producer model’ by destabilising the notion of a one-way transaction, ‘active writer producer to passive reader-consumer’. Each entry in The Glossary is a jumping off point for text to grow either from the point-of-view of the writer or reader, and each item simultaneously encourages a non-linear reading with regard to itself out of which possibilities are generated — as a body of text; the ‘self’ to which it constantly refers — and the novel it appends. The Glossary allows space for ‘undisicplined’ writing which does not conform to the teleological narrative of the thriller genre and in doing so, offers a radically democratic opportunity for the reader (who along with the writer also composes the story) to join in the process and the practice and understand how in ‘working through’ any text we are subconsciously glossing and deducing as we go. Some entries in The Glossary relate to specifics in the novel. Others to novels which haunt the text or other texts dreamed of, wished for or forgotten. Many of the subjects of The Glossary are familiar terms in literary and critical discourse examined in the process of writing. Still others relate to identity and to doubling, as a fictional device, but also as textual possibility. The counterpoint between the two texts — glossary and novel — holds other dialogues and polylogues: the intimate linkage between love and murder or desire and violence; disappearances — both textual and familial; childhood, memory and, motherhood; voice, reading, writing- (as well as reading-)blocks; the flâneur; psychoanalysis and dreams; collage; and the house as a metaphor for the body or the text. Certainly The Glossary presents an occasion for writing, an exercise, an exegesis and, where necessary, an excuse: ‘Only paper offers the tactile complexities of the origami life, the papier mache existence. (The Glossary p. 84) / Doctor of Philosophy (PhD)

No description available.

The researcher’s decision to study the labelling of lexical items in dictionaries was prompted by the frustration experienced with subjective labelling in Afrikaans and English dictionaries. Some lexicographers rely too much on their subjective judgement when it comes to labelling lexical items. The problem with this is that the different dictionaries often label the same word differently or that words in the same dictionary which should get the same label are labelled differently. The question arose as to what exactly constitutes the correct handling of labels, especially with regard to Xhosa dictionaries. The search for an answer to achieve this aim dictated the necessity to examine the essence of the concept “label” in order to establish criteria for evaluating the effective usage of labels, because as Harteveld (1993:143) stated: “…the incorrect treatment of labels or the lack thereof can have important implications for a dictionary”. Since the hypothesis of this study is that it is possible to use labels objectively and correctly it is therefore possible to establish criteria that can be used to achieve this end. A literature review was undertaken to identify criteria for the handling of labels. Fieldwork with the aid of a questionnaire was conducted to supplement the establishment of such criteria. A number of criteria for handling labels was determined. Each criterion was discussed and its implementation was practically demonstrated by means of exemplars.

Presents a study of surveying terminology, which may be considered as an under-researched area when compared to legal, medical or business terminologies, focusing on English and Polish. This book provides a wide picture of surveying terminology by looking at problems that diversified groups of users may identify. Kwiatek investigates how surveying terms are created and how they are named in English and Polish; she analyses the concept systems of the two languages with respect to surveying terminology; and she indicates the areas of surveying in which terminology and conceptual differences occur, the factors that trigger them and translation strategies which are used to solve them.