38 research outputs found
Butler, Anna Maynard an Herman Grimm (1 Brief)
No full textBUTLER, ANNA MAYNARD AN HERMAN GRIMM (1 BRIEF)
Butler, Anna Maynard an Herman Grimm (1 Brief) (Br708)
Brief 708 (Br708
Chapter 18 of the General Theory “Further Analysed”: The Theory of Economics as A Method
No full textIn 1987, Greenwald and Stiglitz accused Keynes’s summary of the General Theory in chapter 18 of relying upon “neoclassical and Marshallian tools”. A number of contributions have on the contrary emphasized the methodological importance of this chapter, which this paper revisits in the light of A Treatise on Probability. It thereby shows that the notions of cause and dependence used to discuss the relationships between independent and dependent variables of the General Theory are related to the concept of “independence for knowledge”, which concerns logical connections between arguments rather than material connections between events. We demonstrate that such logical connections established in chapter 18 are rediscussed in chapters 19-21, where Keynes allows for probable repercussions between the factors and removes the simplifying assumptions previously introduced. After stressing the methodological continuity this method provides with the analysis of credit cycles in A Treatise on Money, we argue that chapter 18 is an indispensable tool to decode the internal text structure of the General Theory. We thus characterize the latter as a vademecum to the complex economic world, the author providing an analytical method allowing – and requiring – the readers to emulate his efforts to grasp the complexity and interdependence of the economic material.John Maynard Keynes, The General Theory, complexity, economic methodology
The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies.
No full textPhDThe aim of this thesis is to explore, by examining her life and
works, how Sarah Fielding (1710-68) established her identity as an author.
The definition of her role involves her notions of the functions of
writing and reading.
Sarah Fielding attempts to invite readers to form a sense of ties
by tacit understanding of her messages. As she believes that a work
of literature is produced through collaboration between the writer and
the reader, it is an important task in her view to show her attentiveness
toward reading practice. In her consideration of reading, she has two
distinct, even opposite views of her audience: on the one hand a familiar
and limited circle of readers with shared moral and cultural values and
on the other potential readers among the unknown mass of people. The
dual targets direct her to devise various strategies. She tries to
appeal to those who can endorse and appreciate her moral values as well
as her learning. Her writings and letters testify that she is sensitive
to the demands of the literary market, trying to lead the taste of readers
by inventing new forms.
The thesis opens with an overview of Sarah Fielding's career,
followed by a consideration of her critical attention to the roles of
reading. I go on to examine the narrative structures and strategies
she deploys, with a particular emphasis on her use of the epistolary
method. The following chapter deals with her attention to the reading
of the moral message tangibly embodied in her educational writing. It
is followed by an analysis of the activity which earned her a reputation
as a learned woman. Various as the forms of her works are, they invariably
reflect her attempt to balance herself between the two demands of
inventiveness and familiarity
Mercantilists and classicals: insights from doctrinal history
No full textMonetary theory ; Economists
The life and works of James Miller, 1704-1744, with particular reference to the satiric content of his poetry and plays.
No full textPhDJames Miller was born the son of a Dorset rector in 1704. He
was himself ordained, but acquired no benefice until just before his
early death, probably because of a scathing portrayal of the Bishop
of London in one of his verse satires. At Oxford he wrote a vivacious
comedy of humours, set in the University. Its production in 1730
began his dramatic career, at a time when the number of London
theatres had just doubled, and new dramatic forms were being invented.
In 1731 his poem Harlequin-Horace, a witty inversion of
the Ars Poetica, attacked pantomime and opera, but also painted a
lively portrait of the entire theatrical world, in the tradition of
the Dunciad.
After collaborating in a translation of Moliere's works Miller
wrote two plays based on this author. Of all his dramatic works
these were the most successful with his contemporaries, and were
followed by a modernisation of Much Ado, and a ballad-opera adapted
from an afterpiece by Jean-Baptiste Rousseau, and rendered highly
topical. Miller made similar use of a recent French comedy showing
a Red Indian's reactions to civilisation, a satiric "fable" by Walsh
and Voltaire's Mahomet. A large quantity of original material was
incorporated into most of these, and this is generally satirical in
nature. The Indian is made to voice almost egalitarian sentiments.
An afterpiece, "The Camp Visitants", satirised military inaction
in the war, and was apparently banned. The manuscripts of the six
plays produced after the Licensing Act bear the examiner's deletions,
and illustrate the nature of the censorship at this time.
Miller's greatest strength is probably his flexible, vigorously
colloquial dialogue. His political satire is mostly contained in
the poetry, which attacks Walpole's administration with increasing
vehemence through the seventeen-thirties, until its fall. In 1740
two poems that used Pope in symbolic contrast to Walpole caused a
sensation. In both poetry and plays Miller is also a social satirist,
who lays unusually strong emphasis on false taste and the deterioration
of culture
A survey of graduate programs in arts administration and a proposed program for the University of Utah
No full textthesisThe University of Utah\u27s program in Arts Administration will be a two year (eight quarters) graduate program leading to a Master of Fine Arts Degree. It will be housed as an Institute within the College of Fine Arts. The faculty of the program will include a director, who will be in charge of curriculum, recruitment of students, and assigning other faculty duties. The balance of the faculty will consist of the managers of the Utah Symphony, Ballet West, Pioneer Memorial Theatre, Repertory Dance Theatre, and the Utah Museum of Fine Arts. I n addition, faculty of the Graduate School of Business and other schools of the University of Utah will instruct in the program. Students will have time in their schedules to include several electives. The arts organizations in Salt Lake City provide many guest artists each year who would be invited to lecture students. In the past several years some of the artists who have been in Salt Lake City have included jo Mielziner, Van Cliburn, Grant Johannesen, Gina Bachauer, Roberta Peters, Jennifer Muller, Glen Tetley, Anna Sokolow, Milton Goldman, Danny Newman, Matt Mattox, Danny Lewis, Jaques D\u27Amboise, Eleonor d\u27Antuono, Vicky Simon, john Butler, Olga Maynard, Adam Pinsker, and Nancy Hanks. Three to four times a year, a guest panel of arts administration experts will be brought to Salt Lake City to conduct a four-day seminar in some aspect of arts management which other management personnel from across the nation will also be invited to attend. Local experts will be used as guest lecturers, including fields such as fund raising, computer science, design, printing and management
Developing a critical theory of child abuse : a discussion of the nature of child abuse as a manifestation of the social order
No full textThis thesis is an exploration into the nature and the prevalence of
child abuse. It incorporates in this investigation how children
understand abuse, and how the child may reject or oppose it. Its
origins lie in the experiences and observations I made as a local
authority social worker where children were silent, where child
abuse was seen as an event, a distinct moment within family life,
and with apparently little recognition of its relationship with the
social order. Arising from this observation, I consider how the
care of children may be a manifestation of the social order. This
thesis is therefore also a critique of the present theory and
practice of working within the field of childcare.
The premise taken here is that in order to understand abuse, there
must be an account of the individual's sense of being, as this
relates to wider issues of the political economy. Thus this
investigation uses the perspective of critical theory, since
critical theory can incorporate an analysis of both structure and
the experiential. It enables the researcher to shift perspective
and to focus on different levels and aspects of being.
Therefore, since child abuse is situated within the family, an
analysis based on the perspectives of critical theory is used to
examine family relationships. This includes an examination of the
relationships between parents, as well as of those between them and
the child. Three different facets of family life are explored:
that of gender construction from the viewpoint of feminist
psychoanalysis; the relationship between the social order and
interpersonal behaviour from the perspective of Marx and radical
feminism; and parental authority, drawing on the work of Laing.
Derived from this exploration, the key concepts of patriarchy,
alienation and mystification inform the direction of the empirical
investigation.
The empirical investigation, using firstly autobiographies of
childhood and then direct interviews with children, explores
further these concepts'. The autobiographies are used as a way of
sensitising oneself to the issues for the child, and as a means of
categorising experiences for the subsequent interviews with
children. From this reading, an alternative understanding of child
abuse is developed, one which differs from the narrow definition
used by organisations. Hence abuse can be seen as the experience
of hurt and pain, either emotional or physical, and which takes
place in a relationship based on the parental domination, control
and exploitation of the child. This understanding of abuse
situates the subjective experience within an interpersonal dynamic
of power and subordination.
Using this definition in analysing the interviews with children, it
was apparent that all children expedrience a form of abuse to some
degree. Abuse is not, therefore, the property of a small number of deviant families. Additionally it is argued that children are
silenced and rendered powerless within the family by three
mechanisms: firstly by the 'privacy control mechanism', secondly by
the 'ideology of paternalism', and thirdly by mystification. These
can be interpreted as also reinforcing the social order, since this
also depends for its maintenance on domination, powerlessness, and
mystification of the mechanisms of control.
The thesis concludes with a number of proposals for further
exploring these concepts in terms of developing sociological theory
and social work practice. The report on the death of Jasmine
Beckford is subjected to an alternative analysis, and derived from
this critique, ways of confronting violence, mystification and
privacy are discussed. Finally the thesis stresses the importance
of understanding child abuse as a personal as well as a social
phenomenon, and that it has ultimately, a political significance
Exploring social identity through theatre : an examination of the process of creating Jingle Dreams with youth in the coloured community of Clanwilliam
No full textIncludes bibliographical references (leaves 58-62).This dissertation examines the process of creating Jingle Dreams with the youth in Clanwilliam. It aims to ascertain whether the processes of Community Theatre drama create opportunities for the individuals in the identified community to explore a social identity influenced by historical legacy, heritage, memory (or absence thereof) and socio-economic environment. The intention of the dissertation is influenced by the Applied Drama mission to benefit individuals, communities and societies through artistic forms of intervention such as dramatic activities, theatre directing, mediation and discussions. I will examine how the processes and the performative qualities of drama and theatre have the potential to transform individuals and society. Community Theatre creates the space for young people to share and question common experiences of life. This ensures that marginalised voices are heard which has psychological and social benefits for the participants. The dissertation proposes to interrogate how young people revealed their social identity through the narrative structure, dialogue, stereotypes and symbols in Jingle Dreams. I have been strongly motivated by the work of Augusto Boal which was the source of a large part of the dramatic processes. In the research process, the young people belonging to The Community Networking Creative Arts Group were encouraged to find their own forms of artistic, cultural and theatrical expression. During the rehearsal process, the group improvised and developed many scenes which reflected issues such as alcoholism, drug abuse, domestic violence and intergenerational tension. The narrative of the performance was based both on their stories and on stories from their community. It reflected their circumstances, their struggles, their hopes and their dreams. Theatre devised in community situations reflects concern with the representation of memory, and participants are invited to recognise that autobiographical narratives have social, communitarian and historical significance, as well as personal relevance. Performers drew on their own experiences to devise the scenes. This process often emphasised how the boundaries between truth and fiction are blurred. The lack of a clear distinction between fact and art facilitated the revelation, exploration and contestation of social identity
Contemprary lesbian genders: A queer/ sociological approach
No full textThis thesis attempts to develop the insights of recent work on identity that has been influenced by poststructuralist theory, and in particular 'queer theory', through an empirical study of the social construction of lesbian genders. I examine sociological work on sexuality, queer theory and feminist work on butch/femme. Lesbian identities are constructed at the intersection of specific discourses, structures and conscious agency. There is a lack of sociological element in queer theory but I am interested in the potential for developing this despite the epistemological difficulties it raises. Queer theory has
enabled a radically different way of theorising butch/femme as transgressive queer practice with the potential to reveal the constructed and contingent nature of all gender.
The study has involved semi-structured interviews with 31 women who have various degrees of identification with either `butch' or `femme'. I identify particular `interpretative repertoires' in identity narratives and examine the ways in which these are socially located. These findings are used to contest the assertion that community
understandings of identities differ radically from the constructionism that is the dominant theoretical paradigm. I outline the construction of specific contemporary butch and femme subject positions and the ways in which these are discursively located in relation to heteronormative discourses. Queer theory offers a way of understanding butch and femme as specific lesbian genders and I argue that the relationship between butch/femme and heterosexuality should be seen as interdependent rather than imitative. The ways in which dominant beauty discourses are negotiated and the possibility of constructing a specifically lesbian aesthetic is examined. I argue that lesbian genders can be subversive of the `heterosexual imaginary' but that this is context dependen
