Though Gide's homosexuality is well-documented, the theme of homosexuality plays a relatively minor role as it affects women in the récit. L'Immoraliste and Geneviève are the only ones in which the theme appears. Therefore, the reader will find little discussion of this subject per se in this work. This study will include only the récit, the art form which has come to be associated with Andre Gide. The récits include: L'Immoraliste (1902), La Porte étroite (1909), Isabelle (1911), La Symphonie pastorale (1919), L'Ecole des femmes (1929), Robert (1929), Geneviève (1936), and Thésée (1946).

This dissertation reconstructs a theoretical framework for the Indian Constitution. It does so immanently, by focusing on the making of the Indian Constitution, taking into account both the demands of its specific historical conditions, and the formal constraints of drafting a constitution. The dissertation shows that in its historical context the task of the Indian constitution makers should be understood as creating a constitutional system that can mediate a transformation of the social condition. Performing this task required reinterpreting the established tenets of constitutionalism. The reinterpretation produces a distinct variation of constitutionalism that is termed transformational constitutionalism. Part I of the dissertation focuses on some of the central tenets of constitutional theory by examining the writings in which they first assumed their paradigmatic form. The concepts are situated in the historical context in which they were formulated to highlight the specific challenges they were a response to, and hence distinguishing them from the conceptual terrain in which the Indian Constitution was formulated. Part I also shows the essentially preservative nature of the main tenets of constitutional thought, and that the fully developed versions of its central concepts seek to preclude any possibility for major changes in social conditions. Part II sets out the historical developments that led to the material and ideational terrain on which the Indian Constitution was conceived. It first outlines the institutional and discursive structures of colonial rule to tease out the development of concepts that would serve as the point of reference for the constitution-makers. Part II then turns to the resistance to colonial rule by focusing on the ideas and politics of M.K. Gandhi to delineate the strengths and weaknesses of Congress's claim to represent the Indian nation at the moment of independence, and outline the two different visions of what it meant to free oneself from colonial subjugation, and the different challenges for bringing those visions to fruition. Finally, Part II outlines the way in which the Indian constitutional vision was caught in an interdependent dynamic of break and continuity with its colonial past. After Part I and II have traced the conceptual coordinates of a modern constitution, and the specific historical condition in which the Indian constitution was conceived respectively, Part III focuses on the Indian Constituent Assembly Debates to show how the framers sought to respond to the concrete challenges facing them by creatively reinterpreting the precepts of modern constitutionalism itself. The dissertation shows that the Indian Constitution has to be understood as a totality containing three related strata - that of constitutional imagination, promises, and text - which exist in tension with each other. This tension constitutes the contradiction at the heart of the Indian Constitutional form. The dissertation concludes by following one such contradiction, between the strata of imagination and text as it developed during the most important constitutional conflict of the initial years on the question of compensation for acquisition of property. It also demonstrates how that conflict fundamentally shaped the nature of Indian constitutional practice.

by Liu Hoi-ying April. / Thesis submitted in: December 2003. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 111-113). / Abstracts in English and Chinese. / Preface --- p.i-v / Introduction --- p.1 / Chapter 1. --- Chapter one: The History of the Romantic Lied --- p.7 / Chapter 2. --- Chapter two: Literature Review --- p.24 / Chapter 3. --- Chapter three: Lieder Analyses --- p.46 / Chapter 4. --- Chapter four: Summary and Conclusion --- p.100 / Chapter 5. --- Selected Bibliography --- p.110 / Chapter 6. --- Appendix A: Statistics / Chapter - --- Table w: Lieder set by Schubert from 1811-1828; statistical information on setting method (strophic vs through-composed) --- p.113 / Chapter - --- Table x: Schubert's Lieder settings from 1811-1828 of Goethe's poems; statistical information on setting method (strophic vs through-composed) --- p.114 / Chapter - --- Table y: Chronological statistical analysis for setting method (strophic vs through-composed) and related poet for all Schubert's Lieder from 1811-1828. --- p.115 / Chapter - --- Table z: Loewe's strophic Lieder settings collected in Max Runze's edition4 --- p.124 / Chapter 7. --- Appendix B: English Translation of Goethe's poems --- p.127

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-02-27T13:35:40Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-05-06T13:13:34Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) / Made available in DSpace on 2014-05-06T13:13:34Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) Previous issue date: 2011 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objeto deste estudo é compreender e destacar o papel do corpo no campo religioso investindo em uma análise da corporeidade espírita kardecista brasileira a partir de suas representações sociais e imaginário. O esforço analítico e a distribuição dos capítulos estão baseados no esquema macro/microcósmico de “Cosmos-casa-corpo”. O primeiro capítulo situa a construção do Espiritismo Kardecista por seu codificador, o intelectual francês Hippolyte Rivail, conhecido por seu codinome, Allan Kardec (Paris, 1804-1869) e suas pretensões de unificar “ciência, filosofia e religião”, produzindo um Cosmos. O segundo capítulo apresenta o centro espírita, espaço sagrado de seu universo ritual. O terceiro capítulo está centrado no referencial semântico “corpo”, que surge como instrumento heurístico e recorte de análise. Analisando as concepções e imaginário sobre o corpo no Espiritismo Kardecista, o trabalho propõe que as relações entre o mundo espiritual, o centro espírita e corpo são determinantes para a compreensão da pessoa espírita. / The object of this study is to understand and highlight the role of the body in religious field by investing in an analysis of brazilian kardecist spiritual embodiment, which is constructed by social representations and imaginary. The analytical effort and the distribution of the chapters are based on the schema macro/microscopic – “Cosmos-house-body”. The first part deals with the construction of kardecism by its encoder, the French intellectual Hippolyte Rivail, known as Alan Kardec (Paris, 1804-1869), and its pretensions to unify “science, philosophy and religion”, producing a Cosmos. The second part presents the Spiritist Centre as a sacred space of its ritual universe. The third and last part is focused on the “body”, as semantic referential, which appears too as heuristic tool for analysis. Analyzing the conceptions and imaginary over the body in Kardecism, this work proposes that relations between the spiritual world, the Spiritist Centre and the body are crucial for understanding the spiritist person.

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No abstract available. / Thesis (M.A.)-University of Durban-Westville, 1991.

Indiana author Booth Tarkington laid the groundwork for understanding issues related to urban design and planning in the Midwest with a tandem of novels: The Magnificent Ambersons (1917), and The Midlander (1923). More importantly, evidence can be found to suggest that it is not only through knowledge and appreciation of tangible urban form, but also an appreciation and awareness of a culture, via its literature, that these issues of design and planning can be more fully understood by design professionals.The purpose of this study, then, is to discover the connections between studies in the field of landscape architecture (with regard to urban form and urban imageability) and the "literary landscapes" of Booth Tarkington. These connections will serve, first, to clarify and prioritize my study; second, to educate design professionals in an alternative way of understanding and tackling the physical issues of imageability in today's world; and third, to suggest to all designers the necessity for knowing, appreciating and utilizing the virtually infinite range of resources available to them. / Department of Landscape Architecture

This study demonstrates that Edwin Arlington Robinson's keen interest in mystery is reflected in his poetry. However, he creates an unusual subgenre--the unresolved mystery. Definitions from the Oxford English Dictionary, religious treatises, and philosophical works, helped formulate a working definition of the word mystery. I then selected eight murder poems from The Collected Poems -- "The Tavern," "The Whip," "Stafford's Cabin," "Haunted House," "Avon's Harvest," "Cavender's House," "The Glory of the Nightingales," and "The March of the Cameron Men" and three poems from the Uncollected Poems and Prose of Edwin Arlington Robinson --"The Miracle," "For Calderon," and "The Night Before." In these murder mystery poems, Robinson fails to provide definite motives or conclusive evidence or reliable narrators--all necessary components to solve a mystery. These violations of mystery writing rules appear both in his long and short poems.In the short poems, without exception, Robinson provides no motives. Dead bodies indicate that crimes have been committed, but none of the perpetrators is brought to justice, and in some cases, not even identified. Hence, the presence of relevant, but skimpy details disallow solving the mystery with any degree of certainty. In addition, the long poems exclude clear motives, hard evidence or reliable narrators--all of which prevent the reader from reaching a sound conclusion. Other poems suggest the involvement of supernatural beings. Consistently, all his murder mystery poems conclude with the mystery either partially or completely unresolved. / Department of English