Master of Science / Department of Architectural Engineering and Construction Science / Sutton F. Stephens / Architectural engineers face many challenges in the design and implementation of mechanical, electrical, lighting, plumbing, and fire protection systems in buildings. Space and aesthetic coordination must be managed between the architects, engineers, contractors, and building owners. Further design issues are involved when renovating or preserving historic properties. Historic buildings often contain additional design limitations and character defining features that must be preserved. A building's character defining features often represent past history, culture, and architecture. To better understand the design coordination and other issues faced in historic renovation, three case studies located in Kansas City, Missouri, are presented to investigate the application of mechanical, electrical, and plumbing (MEP) system design into historic buildings. The three case studies include: the Stowers Institute for Medical Research, as a mechanical design; the Union Station, as an electrical and lighting design; and the Webster House, as a plumbing and fire protection design. The renovation projects' architects, engineers, and contractors were personally interviewed to obtain the most accurate information and account of the design and construction process. Additional information was gathered, and a tour of each building allowed for the pictorial documentation of each site. Preserving the historic character of buildings during renovations has many advantages and disadvantages for both the owners and the designers. The additional design parameters in historic renovation projects foster creative thinking and problem solving during the design and construction process. In order to implement a successful design, the architects, engineers, and contractors must work together and understand the value of a building's historic character during the design stage when adapting to a new usage.

The purpose of this thesis is to examine Webster's The Duchess of Malfi, a representative example of the Jacobean "horror" play, in terms of its possible relationship to Antonin Artaud's Theatre of Cruelty, a dramatic theory chiefly propounded in The Theater and its Double. The introductory section outlines the basic aims and principles of a Theatre of Cruelty as postulated by Artaud, and attempts to show why, in view of recent theatrical experiments, Webster's play might profitably be investigated within this twentieth century context. The first two chapters proceed to a discussion of Webster's complex theatrical form, attempting to show how and why he makes full use of any available dramatic and theatrical device and convention to aid in the presentation of his personal vision of man and society. The play is thus first examined in the context of Total Theatre, a principle basic to a Theatre of Cruelty. The central chapters of the thesis investigate the thematic lines in The Duchess of Malfi, and attempt to show how in spite of the many components from which the play is constructed, there nevertheless emerges a unified and coherent dramatic vision. This vision is seen as being developed in three ways, separable for purposes of discussion but ultimately closely inter-related, namely visual imagery, verbal imagery and characters-in-action. Thematic presentation through visual and verbal imagery is discussed in Chapter III, while Chapter IV deals in more detail with aspects of characterization. The argument advanced in Chapter IV is that Webster's method of characterization is based on what is basically a simple Good and Evil contrast, with the characters developed as opposed Forces or symbols. The characters in action, seen as opposed Forces, constitute a third presentation of the central themes, working with and strengthening the presentation of the themes as explored in the visual and verbal imagery. The final chapter of the thesis examines the play in somewhat more general terms. An attempt is made to relate The Duchess of Malfi to more traditional genres—tragedy, comedy and satire. Webster's particular use of certain features of these traditional forms is discussed. Because the play is imperfect if measured against the accepted conventions of tragedy, the theory is advanced that it might be viewed as related philosophically to the contemporary Theatre of the Absurd, on which the Theatre of Cruelty has had considerable formative influence. Throughout the discussion of themes and characterization, references to Artaud and interpretations of Artaud's ideas are included wherever possible to point out the closeness of the relationship between The Duchess of Malfi and Artaud's Theatre of Cruelty. The thesis advanced throughout is that the play contains within itself elements which were not formally advanced as an approach to drama until this century. In effect, a Jacobean Theatre of Cruelty is being suggested as existing in fact if not in name. Concluding remarks suggest that if the felt relationship between The Duchess of Malfi and the Theatre of Cruelty is seen to be a valid one, an investigation of other works by Jacobean dramatists might prove of use in giving meaning and significance to much of the violence, horror and grotesquery which appears in the plays of the period. The response of the Jacobean dramatists to their times can be seen as in many ways analogous to the response to the human condition in the dramas of the contemporary avant-garde. / Arts, Faculty of / English, Department of / Graduate

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Résumé de la thèse : « L’actualité de l’affaire de la Caroline en droit international public. La doctrine de la légitime défense préventive en procès » La principale préoccupation au centre de cette recherche a consisté à trancher la controverse qui divise les spécialistes au sujet de la légalité de la doctrine de la légitime défense préventive, spécialement du point de vue du système juridique international institué au lendemain de la deuxième Guerre mondiale. La doctrine en cause préconise clairement qu’un gouvernement d’un Etat, qui éprouverait des craintes ou des soupçons d’une menace d’attaque contre son intégrité territoriale, et dans une certaine mesure, ses intérêts éparpillés à travers le monde, serait autorisé à frapper militairement l’Etat dont le territoire est susceptible de constituer le point de départ de telles menaces : soit, parce qu’un tel Etat détient les armes de destruction massive, notamment l’arme nucléaire et les armes chimiques ; ou soit parce qu’il hébergerait des bandes hostiles, en l’occurrence, les groupes terroristes, à l’origine de ses craintes. Les partisans de cette thèse soutiennent qu’il s’agit là d’une norme de nature coutumière élaborée à l’issue du règlement de l’affaire de la Caroline survenue en 1837, entre la Grande Bretagne et les Etats-Unis d’Amérique. En effet, un petit navire battant pavillon américain, dénommé la Caroline, avait l’habitude d’effectuer des navettes entre les territoires de Buffalo, aux Etats-Unis, et Navy Island, au Canada. Et dans cet ordre d’idées, il entama comme à l’accoutumée, la traversée du fleuve Niagara en embarquant à son bord des passagers, vers le Canada, en date du 29 décembre 1837. Mais il fut, dans ce contexte, accusé de transporter des rebelles qui étaient sur le point d’envahir le territoire canadien. C’est ainsi qu’à l’issue de ses voyages opérés durant la journée du 29 décembre 1837, alors qu’il se trouvait déjà accosté dans un port situé dans les eaux intérieures américaines, une intervention armée, décidée par le gouvernement anglais, avait eu lieu sur le territoire des Etats-Unis durant cette nuit là. Elle s’est soldée par la destruction de nombreux biens américains, dont le navire en question, qui fut au final coulé dans le fleuve Niagara. Cet incident va du coup provoquer une grande controverse diplomatique entre les deux Etats précités. La Grande-Bretagne prétendit notamment que ce navire était engagé dans des opérations pirates, et que par ailleurs, sa destruction par ses forces armées relevait de l’exercice du droit d’autoconservation et de légitime défense. Mais au termes de nombreux rebondissements, le Secrétaire d’Etat américain, du nom de Daniel Webster, adressa en date du 24 avril 1841, une note diplomatique à l’Ambassadeur britannique basé à Washington, M. Henry Fox, dans laquelle il contestait l’ensemble de motifs avancés par la Grande-Bretagne, mais en insistant spécialement sur le fait que la destruction de la Caroline, aurait été acceptée comme relevant de la légitime défense, si et seulement si, les forces britanniques ayant agi militairement au cours de cette nuit là étaient en présence « d’une situation de nécessité absolue de légitime défense, pressante, écrasante, ne permettant pas le choix des moyens, et ne laissant pas de temps pour délibérer ». Un consensus de principe se serait donc, semble-t-il, formé autour de ce dictum, mais non de son application aux faits d’espèce. C’est en prenant en compte les considérations historiques qui précèdent que beaucoup d’auteurs, essentiellement anglo-saxons, se permettent d’affirmer que l’affaire de la Caroline est un précédent fondateur de la légitime défense en droit international public. Et dans cette même optique, considérant par ailleurs que la singularité de cette note consiste dans le fait de subordonner la validité de telles actions armées anticipatives, à l’existence d’une menace imminente d’attaque du territoire canadien par des insurgés, la célèbre formule de Webster précitée aurait également consacré de ce fait même, la doctrine de la légitime défense préventive en droit international coutumier. Notre hypothèse de travail est simple. En effet, nous partons du point de vue selon lequel, le raisonnement des partisans de la doctrine de la légitime défense préventive, fondée spécialement sur le précédent de la Caroline, soulève de vrais problèmes d’équilibre et de cohérence du système international élaboré après la deuxième Guerre mondiale, dans la mesure où, il aboutit dans ses applications, à cautionner, au sujet de l’interdiction de la force, l’existence d’un ordre juridique ambivalent. Autrement dit, si l’on transpose les enseignements tirés de l’affaire de la Caroline, dans le droit international positif, on aurait immanquablement, d’un côté, un régime conventionnel restrictif de la Charte, qui limite la possibilité de riposter militairement à la seule condition où un Etat a déjà effectivement subi une attaque armée. Tandis que de l’autre côté, on aurait parallèlement un régime coutumier plus permissif, qui laisserait à l’Etat un pouvoir discrétionnaire d’appréciation des circonstances de temps et de lieux, dans lesquelles il peut se permettre de frapper militairement un autre Etat, en invoquant la légitime défense. Le travail de déconstruction auquel nous avons procédé pendant nos recherches, nous a amené à constater, au bout de cette thèse, que tous les arguments qui sont généralement invoqués par les partisans du précédent de la Caroline présentent des limites et des excès, dans leur prétention à fonder juridiquement, une règle de légitime défense préventive en droit international public, et du coup, ils doivent être relativisés dans leur teneur respective. Pour cette raison, nous soutenons en ce qui nous concerne l’hypothèse selon laquelle, le droit international public en vigueur, ne permet pas encore en son état actuel, l’extension du champ opératoire du concept de légitime défense, tel que stipulé à l’article 51 de la Charte, de manière à justifier l’emploi de la force dans les rapports entre les Etats, en cas d’une simple menace, peu importe son intensité et sa nature, tant qu’il n’y a pas encore eu véritablement une attaque armée de la part de l’Etat envers qui on agit militairement. En conséquence, la tentative doctrinale qui consiste à justifier l’existence d’une règle coutumière, autorisant la légitime défense préventive, en se fondant sur l’autorité de l’affaire de la Caroline, procède en quelque sorte d’un malentendu doublé d’un anachronisme évident. Bruxelles, le mardi 6 mai 2008 Ivon Mingashang

This essay examines the social relations between colored and white cadets at the United States Military Academy at West Point during the late 19th century. Through letters we are able to take part of two microhistories that show the social structure from two different angles. Exclusionary rhetoric and practices made it possible for white cadets to shut out colored cadets from their social community. When the first African-American, James Webster Smith entered the Academy in 1870 a controversial question was raised about social relations between colored and none-colored cadets. By studying Smith ́s letters in tandem with those of a white cadet who attended West Point at the same time, Hugh Lenox Scott, this thesis aims to study how racism played out in everyday encounters and practices. In doing so it reveals a complex tension between exclusion and confrontation involving colored cadets, as a result of the structural racism at the Academy and in the American society at large in the post-Civil War era.

This paper explores the depiction and function of madness on the Renaissance stage, specifically its development as trope of the English revenge tragedy from its Elizabethan conception to its Jacobean advent through a representative engagement of Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Hamlet and John Webster’s The Duchess of Malfi. Madness in these plays selectively departs from popular conceptions and archetypal formulas to create an uncertain dramatic space which allows its sufferers to walk moral lines and liminal paths unavailable to the sane. “Madness” is responsible for and a response to vision; where the revenger is driven to the edge of madness by a lapse in morality only visible to him, madness provides a lens to correct the injustice. It is the tool that allows them to escape convention, decorum and even the law to rout a moral cancer, and, in this capacity, is enabling rather than disabling.

John Webster’s play The Duchess of Malfi subverts early modern hierarchical structures of matter and life by characterizing the human body as fundamentally deceptive and inferior to the animal body. Through close readings of Bosola’s meditations and Ferdinand’s lycanthropy, I consider how Webster constructs animals as simplistic creatures that enjoy a desirable existence, where body and soul are continuous. Within Webster’s play, the dualist conflict between human body and human soul is a primary subject of discourse. Various human characters see animal existence as preferential, as they view animals as automated creatures that do not suffer the self-consciousness that humans do. This model of animal existence further increases the thematic significance of Ferdinand’s lycanthropy, which I argue is an escape from the discontinuity between the human body and human soul. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2013.

An exploration of Harriet Beecher Stowe's The Minister's Wooing as viewed through the lens of performance studies and domesticity. Previous tales of fallen women, both in novels and operatic form, deprived the coquette of the agency to change her societally determined route of personal destruction as previously shown in the studies of Catherine Clément. Stowe's unique tale of a French coquette overturns the typical plot of the fallen woman, as demonstrated in Hannah Webster Foster's The Coquette, by giving the coquette agency to redeem herself through key performative, domestic and, according to Judith Butler, transformative acts. Such treatment of this character made Stowe a forerunner in sexual equality.

This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it was a disembodied enterprise unattached to the whims of its audience or the particularities of its author—were antithetical to the experiences of women writers, whose work was often read in the context of their gendered bodies. My study proceeds chronologically, reading the literary dramas of five writers—George Eliot, Augusta Webster, Katharine Bradley and Edith Emma Cooper (writing under the pseudonym “Michael Field”), and Elizabeth Robins—alongside changes in print practice and theatrical staging as well as evolving discourses about “literariness.” I argue that these women allude to theatrical performance in the text to show that the page always bears the physical traces of its authors and its audience. Each chapter blends book studies with performance studies, showing the way the form of a work invites particular responses from its readers. Overall, this project has two goals: one, to recover marginalized texts by women writers and revise narratives about the period to incorporate these pieces; and two, to span the scholarly chasm between Victorian poetry and drama and demonstrate, instead, the mutually constitutive relationship of these two art forms.

Doctor of Philosophy / Leadbeater was a man who made the most startling claims for himself, and made them in a very matter-of-fact way.[4] He declared that he had penetrated the depths of the atom by his psychic powers, discovered the ultimate unit of matter whilst sitting in a park on the Finchley Road in London, and had psychically extracted individual atoms of various elements from the showcases in the Dresden Museum whilst he reclined several miles away. He also claimed to have sent sea spirits to dig out atoms of another element from the mines of Sabaranganuwa in Ceylon while he lay in his bed in Madras in India.[5] He claimed to have explored most of the planets in the Solar System, while his body remained on earth, and described their climates and inhabitants in some detail.[6] He claimed to be in regular communication with the Powers which govern the earth from the Inner Planes, the Masters or Mahatmas, the Supermen who constitute the Occult Hierachy of this planet. And, so he said, he conducted parties of pupils to the secret places in Tibet where these same Masters resided, while the bodies of both the pupils and their guide slept securely in their beds.[7](Excerpt from Introduction pp.3-4)