by Donald B. Rosenfield. / Bibliography: p.8.

John N. Tsitsiklis. / Cover title. / Includes bibliographical references. / Supported by the Army Research Office. DAAL03-86-K-0171 Supported by a NSF PYI Award with matching funds from Bellcore, Inc.

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The author discusses the idea of architecture criticism and its interpretation. Criticism, in addition to its traditional literary role, is considered as an act of making. Consequently, architecture is understood as criticism--i.e. a making of critical architecture. The making of critical architecture, as an activity prevalent throughout history, is discussed. Two types of this architectural phenomenon are identified as the critical zeitgeist phenomenon and the critical individualist phenomenon. The critical making of this architecture, supported by two operations or manipulations--the principles of integration and inversion, is described and illustrated. These principles are used to analyze Mannerist architecture (the critical zeitgeist phenomenon) and the work of Nicholas Hawksmoor (the critical individualist phenomenon).

It has been said that Defoe's writings embody an unresolvable split between a Puritan morality and an essentially capitalist economic interest. Defoe is either a Puritan, in some cases, writing works with heavy moral and religious overtones; or he is a capitalist, disregarding the virtues of a Puritan morality in the pursuit of economic gain. This split between trade and religion becomes a central critical issue in his first novel, Robinson Crusoe. There are sections of the novel in which Crusoe meditates upon religion, virtue, God's providence, his own place in the divine scheme, or in which he reflects on his past life of sin and adventure. There are other sections in the book in which the excitement of the narrative is generated through a focus on an action-economics pattern. Thus, the reader becomes involved in Crusoe's various survival projects, his explorations of the island wilderness, even in his early trading ventures. The latter, of course, are antithetical to the religious point of view maintained throughout the novel. The split in Crusoe's character, and the concomitant split in the structure of his "autobiography," can be resolved by looking at Defoe's ideological background as it relates to the themes and structure of Robinson Crusoe. Defoe's religion is a form of Puritanism; he comes from a Presbyterian household. Therefore, his ideas on economics tend to be moralistic and conservative; he is a mercantilist, not a capitalist. In Crusoe, the main character's "capitalistic" schemes for getting quickly ahead in the world are justly punished by Providence. Providence, in this sense, is the hand of God operating as a force for moral and economic order in human affairs. Through a careful structuring of his narrative, Defoe indicates his own moral and thematic intentions. There is a religious pattern in Robinson Crusoe which manifests itself through spiritual emblemism (i.e., events can be read for their spiritual significance), traces of allegory, the actions of Providence in Crusoe's life, Crusoe's own series of moral reflections, and a structure based on the conventional patterns of the seventeenth century spiritual autobiography. In the latter, the conversion scene is always the central dramatic event, and in Crusoe, the conversion stands squarely at the center of the novel; it is the scene central to Crusoe's own development as he evolves from a "capitalist" to a moral and religious man. In all, the religious pattern gives the reader a perspective on Crusoe's economics; rather than being a capitalist and disrupting the status quo, Crusoe learns to create order and stability on his island through an application of the principles of reason and faith. Thus, the religious and economic patterns work together throughout the novel; they are not antithetical. One other basic pattern in Robinson Crusoe is that of Crusoe's growth to moral wisdom and rational knowledge. Crusoe evolves through three stages, from an early "brute" stage (Crusoe as capitalist), through reason, and finally to faith. Again, Defoe's intention is to show that reason and faith should operate to control impulsive behavior and action. Thus, this pattern blends with the religious pattern in the book, but it also indicates Defoe's knowledge of the seventeenth-century natural law philosophers. Basing himself firmly on philosophical definitions of man and nature (as found in Grotius, Hobbes, and especially Locke), Defoe structures his text in order to show Crusoe's growth into faith and rationality. The result is, of course, that Crusoe becomes an example of the "good" eighteenth-century Englishman, able to control his actions through reason and morality, and thus he becomes a force for moral order and social stability throughout the last part of the book. Robinson Crusoe, then, can be seen as a text structured to indicate a resolution of the conflict between trade and morality. Defoe reduces and simplifies a complex ideology—made up of elements of Puritanism, conservative economic theory, natural law philosophy— for purposes of fictional presentation. It is this model, reduced and simplified, that the reader must understand in order to fully comprehend Defoe's moral and economic intentions in Robinson Crusoe and, finally, to see the book as it resolves the trade-morality conflict. / Arts, Faculty of / English, Department of / Graduate

This study attempts to resolve the question of Defoe's sincerity through examination of his life, his journalistic writings, and his major works or imagination.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

歐陽潔美. / "2000年6月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 131-153) / 附中英文摘要. / "2000 nian 6 yue" / Ouyang Jiemei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 131-153) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究目的 --- p.2 / Chapter 第二節 --- 金批西廂的硏究槪況 --- p.6 / Chapter 第三節 --- 金聖嘆《第六才子書西廂記》簡介 --- p.12 / Chapter (一) --- 金聖嘆之評點及《第六才子書西廂記》的成書年代 --- p.12 / Chapter (二) --- 版本 --- p.13 / Chapter 1. --- 原刻本及原刻翻印本 --- p.17 / Chapter 2. --- 鄒聖脈本 --- p.19 / Chapter 3. --- 鄧汝寧本 --- p.20 / Chapter 4. --- 校注本 --- p.21 / Chapter (三) --- 體例特色 --- p.24 / Chapter 第二章 --- 金批《西廂記》的底本問題 --- p.11 / Chapter 第一節 --- 金批《西廂記》所據之底本 --- p.27 / Chapter 第二節 --- 金批《西廂記》對底本的删改 --- p.31 / Chapter 第三章 --- 《西廂記》的評點源流 --- p.35 / Chapter 第一節 --- 《西廂記》的評點版本 --- p.35 / Chapter 第二節 --- 《西廂記》評點的發展 --- p.40 / Chapter 第三節 --- 《西廂記》評點的三大類別 --- p.42 / Chapter (一) --- 考證角度 --- p.42 / Chapter (二) --- 演出角度 --- p.45 / Chapter (三) --- 鑑賞角度 --- p.49 / Chapter 第四節 --- 金批西廂所屬的評點類型 --- p.52 / Chapter 第四章 --- 金聖嘆《西廂記》評點與八股文的關係 --- p.53 / Chapter 第一節 --- 八股文的特點及其與戲曲評點的關係 --- p.54 / Chapter 第二節 --- 金聖嘆《西廂記》評點中的八股文章法 --- p.57 / Chapter (一) --- 結構 --- p.58 / Chapter (二) --- 尊題 --- p.60 / Chapter (三) --- 細密 --- p.63 / Chapter (四) --- 代人立言 --- p.64 / Chapter (五) --- 金聖嘆所標舉的筆法 --- p.66 / Chapter 第三節 --- 金聖嘆《西廂記》八股評點的評價 --- p.69 / Chapter 第五章 --- 金聖嘆《西廂記》評點的主導性 --- p.72 / Chapter 第一節 --- 評點者的角色 --- p.73 / Chapter (一) --- 評點者與作者 --- p.74 / Chapter (二) --- 評點者與讀者 --- p.78 / Chapter 第二節 --- 評點者的權力 --- p.84 / Chapter (一) --- 改動權 --- p.84 / Chapter (二) --- 詮釋權 --- p.85 / Chapter (三) --- 否定權 --- p.86 / Chapter 第三節 --- 對閱讀過程的影響 --- p.88 / Chapter (一) --- 全知視角 --- p.88 / Chapter (二) --- 對讀者的干擾 --- p.90 / Chapter 第六章 --- 金聖嘆《西廂記》評點的隨意性 --- p.94 / Chapter 第一節 --- 無嚴密系統 --- p.94 / Chapter (一) --- 主題與手法混淆 --- p.94 / Chapter (二) --- 隨文而發 --- p.98 / Chapter 第二節 --- 閑筆 --- p.100 / Chapter (一) --- 突發的聯想 --- p.100 / Chapter (二) --- 宗教議論 --- p.103 / Chapter (三) --- 插科打諢 --- p.105 / Chapter (四) --- 與斲山的對話紀錄 --- p.106 / Chapter (五) --- 閑筆的意義 --- p.107 / Chapter (六) --- 閑筆與說書的關係 --- p.108 / Chapter 第三節 --- 詳略的安排 --- p.112 / Chapter (一) --- 觀點重複 --- p.112 / Chapter (二) --- 過度詳細 --- p.116 / Chapter (三) --- 過度簡略 --- p.117 / Chapter 第四節 --- 前後矛盾 --- p.120 / Chapter (一) --- 語言運用 --- p.120 / Chapter (二) --- 情節結構 --- p.122 / Chapter (三) --- 人物塑造 --- p.123 / Chapter 第七章 --- 結論 --- p.129 / 參考資料 --- p.131

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