Chapter breakdown. This research will be divided into four chapters organized as follows:
1. Chapter one titled Introduction gives a brief background to the study, literature review, the problem statement, research questions, the hypothesis, research methodology and theoretical framework.
2. Chapter two titled income share agreements and how they work discusses the nature and characteristics in which income share agreements work and has been used in various institutions in various schools in USA.
3. Chapter three titled the comparison between existing education financing systems in Kenya and income share agreements it examines the differences and similarities of both methods financing education and the challenges they each face.
4. Chapter four titled conclusions and recommendations covers the key findings, conclusions and recommendations on the way forward in matters relating to the incorporation of Income Share Agreements into the higher education funding system.
Chapter breakdown. Chapter One Introduction. This chapter explains the historical background of the prenuptial agreements, introduces the problem, and outlines the whole dissertation by giving a summary of the whole paper. Chapter Two This chapter will look at various shortcomings that are occasioned as a result of non-disclosure of facts. Chapter Three This chapter will explain the various shortcomings that are occasioned as a result of lack of a standard formula for the calculation of assets. Chapter Four Comparative analysis. The paper will compare South Africa to Kenya. It will discuss the situation in South Africa because it has incorporated prenuptial agreements in its system. This has led to the fair distribution of matrimonial property. It is also a common law county so there is a great possibility Kenya will do well if what is done in South Africa is incorporated in the system. Chapter Five Conclusion and recommendation. This chapter explains reforms that can be put in place to ensure fair distribution of matrimonial property after entering into prenuptial agreements.
Chapter breakdown. Each of the six chapters in this thesis addresses a particular scholarly argument, many of which have been taken as accepted wisdom in the historiography of empire cinema. Most previous scholarship about popular cinema has assumed a somewhat stable image of India from the nineteenth century, one that capitalized on British jingoism. The first three chapters of this thesis argue that if post-1934 filmmakers often drew on nineteenth-century apologists of empire, like Xxxxxxx Xxxxxxx, for inspiration, interpretations by film audiences demonstrate that they understood these films in uniquely twentieth-century terms. Much scholarship has focused on a small cache of films produced between 1934 and 1942, to the exclusion of dozens of films about India screened in Britain in the last thirty years before Indian independence. My first two chapters argue that the influx in the 1930s of films based on stories written by the apologists of empire had little to do 42 Xxxx Xxxxxx, Film/Genre (London: Palgrave Macmillan, 2011), Chapter 2. with British audiences’ demands. In fact, in looking at films produced in the 1920s, the most successful India films in this period told stories about Indian life before the Raj or about tender relationships formed between British and Indian characters. The advent of sound and the financial breakdown of the British film industry in the early 1930s made Hollywood’s visions of India prominent. This shift to Hollywood’s dominance brought about the influx of gung-ho imperial adventure stories. These films, supposedly the hallmarks of twentieth-century imperial culture, reflected American interests and preoccupations far more than British ones. My first chapter, “Beyond Kipling: The Light of Asia and Silent India Films,” shows that films released between 1917 and 1935 rarely looked to writers like Xxxxxxx for their stories and in fact marketed themselves as bringing real stories of India to British screens. Looking at the film The Light of Asia (1925), a British-Indian-German collaboration that ran for more than nine months at London’s Philharmonic Hall in 1926, as a case study, I explore the factors that made this unusual film a relative success and to understand why its success was never repeated by another Indian film. Using press releases, advertisements, and film reviews, I argue that The Light of Asia capitalized on British audiences’ desire for a glimpse at ‘real’ India and their belief that films produced and performed by Indians gave ...
