298 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1980

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It is by no means an easy task to analyse and interpret the work of a dramatist such as Molière, for an interval of three hundred years inevitably blurs our perspective of the man and his intentions. We find ourselves unconsciously reading more into his lines than he possibly meant us to. We are tempted to attach significance to certain words and disregard others, in an arbitrary fashion. We try to reconstruct Molière's attitude towards his contemporaries and theirs to him, from evidence that is often flimsy and seldom reliable. Molière's very identity has been questioned to the extent that the authorship of his plays has been variously attributed to such different personalities as Louis XIV and the great Corneilleo. To these problems is added a further complication when one embarks upon a thesis dealing with the picture of society as it emerges from Molière's plays. Not only are we confronted with the difficulty of interpretation already mentioned, but also with the vastly different way in which pre-enlightenment man regarded social and political institutions. We of the twentieth century tend to take for granted the notions of liberty, fraternity, and equality. Had anyone formulated such ideas in the seventeenth century, it is doubtful whether they would have been accepted, since they contradict the very concept upon which society was based in the age of Louis XIV. This concept, broadly speaking, is that of a strict hierarchy in which everyone has his own appointed place. Obviously the notion of a hierarchy pre-supposes the inferiority of some and the superiority of others in the social structure of the day; and post-enlightenment thinking does not readily accept that some men should be privileged and others regarded as belonging naturally to the lower orders. Intro., p. 1-2.

xiii, 142 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Tintoretto's four-painting Passion cycle in the Sala dell'Albergo of the Scuola Grande di San Rocco in Venice has generated dramatic and affective responses from artists and critics since its completion in the late 1560s. While scholars have addressed the cycle's formal qualities that stimulate such responses, the context surrounding the cycle has not been fully explored. The city was a refuge for reformers and the printing center for potentially heretical writing in the sixteenth century. Tintoretto maintained relationships to members of the reformist poligrafi, and the Passion cycle responds to the mystical theologies propagated in widely disseminated works from Ignatius of Loyola's officially sanctioned treatise, Spiritual Exercises, to the more controversial work of Don Benedetto and Marcantonio Flaminio, the Beneficio di Cristo. This thesis constructs a strong relationship between Tintoretto' s work in the Sala dell'Albergo and contemporary mystical and evangelical reformative theology and activity in the city. / Committee in Charge: Dr. James G. Harper, Chair; Dr. Lauren G. Kilroy; Dr. Kate Mondloch

ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This thesis will position the work of contemporary photographer Jeff Wall among his peers from the 1980s until the present with an emphasis on the transition from theoretical modes of references to the art historical canon to an inquiry into everyday scenes through photographic constructions. Starting with the so-called "street photo," Mimic (1982), Wall's oeuvre has expanded in pursuit of representations of common, urban scenes that are secretly works of fiction. Building on ideas from Roland Barthes, Douglas Crimp, Michael Fried, Rosalind Krauss and Thierry de Duve, the argument is made that the "street photos" have shaped Wall's larger production of photographs that question the construction of vision in life and the media. Furthermore, his street photos have influenced other artists working through postmodern poststructuralist ideas to reestablish the nature of photography. / Committee in Charge: Dr. Kate Mondloch, Chair; Dr. Charles Lachman; Dr. Dan Powell

African languages / D.Litt. et Phil.

Orientador: José Carlos Zamboni / Resumo: Magma é o volume de poemas que marcou a estréia de João Guimarães Rosa, tendo no entanto permanecido inédito por mais de sessenta anos. O presente trabalho tem como objetivo realizar uma introdução ao universo simbológico desse livro através da análise dos três primeiros poemas que o compõem. / Abstract: Magma is the poems volume that set out the debut of João Guimarães Rosa, although have been inedited over sixty years. The aim of the present work is to realize an introduction to the symbological universe of that book troughout the analysis of the three first poems that compose it. / Mestre

From Introduction: Anyone familiar with David Storey's work will find, on reading a brief outline of his life, that much of the inspiration for his novels and plays springs from personal experience. The third son of a coal-miner, he was born in Wakefield on 13 July 1933. He is one of three surviving sons, an older brother having died in childhood. (In Saville and In Celebration the death as a child of a mining family's eldest son has a powerful effect on the parents and some of the remaining brothers.) Although his father wanted his children to reach the middle class through education, Storey has indicated that this ambition was not pursued wholeheartedly.