Thèse 3 cycle--Études islamiques--Strasbourg II, 1975. / Bibliogr. p. 247-258. Index.

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It has long been recognized by Sidney Geist and others that Constantin Brancusi's stone work, after 1907, forms a coherent totality in which each component depends on its relationship to the whole for its significance; in short, the oeuvre comprises a rigorous sculptural language. Up to the present, however, formalist approaches have proven insufficient for decodifying the clear design which can be intuited in the language. The resultant confusion can be attributed to the fact that formalism takes only half of the work's significance into account. Yet Brancusi's careful selection of titles, and his insistence on content, indicate that the latter plays an equal part in establishing the relationships between his sculptures. A structuralist analysis which treats his work as a system composed of signs and which takes both form (signifier) and content (signified) into account, and relates each piece to the whole, seems imperative. Various features of Brancusi's work, including his mythological themes (Prometheus, the Danaids) and transformations (Leda, Maiastra), as well as the presence of parallel yet opposing works (George, Princess Xj and reconciled dualities (the Kiss), correspond to Levi-Strauss' observations on the features of "mythic" thought or "concrete" logic. Thus Levi-Strauss' structuralist methodology was chosen from those available for analyzing Brancusi's work. This choice is strengthened by Brancusi's primitive background in Romania, his techniques (la taille directe), and his affiliation with the French avant garde when it was drawing inspiration from primitive art. It is the thesis of this study that Brancusi was a "primitive thinker" working in Paris, and that the structure of his sculptural language functions like a primitive mythology. Language systems do not depend solely, however, on their internal relationships for their significance; they draw much of it from their social context. It is thus necessary to reconstruct the historical milieu from which Brancusi drew his ideas. A structuralist and historical analysis of the Kiss, the cornerstone of Brancusi's stone work, indicates that the sculpture does, in fact, function linguistically like a mythic object, and that it has a highly complex, and densely packed significance. The latter arises from Brancusi's major sources of inspiration: the sculpture of Rodin and the philosophy of Henri Bergson. Although these have been noted before, there has never been any systematic study of the influence, particularly of the latter, on Brancusi's work. The structuralist analysis employed here indicates that Brancusi continued to employ Bergson's concepts of glan vitale, intuition, duration, creative evolution, and the oppositions between consciousness and unconsciousness, the continuous and discontinuous, material and spiritual, from the early Kiss to the last Birds in Space. On the other hand, Brancusi transformed Bergson's ideas into his sculptural language and inverted those which did not correspond to the requirements of the mythology. A structuralist analysis of the sculpture after the Kiss confirms the accepted theory that Brancusi developed his works in series, but also supplements it by demonstrating that these series are as much linked by content as by form, that is, they proceed both metaphorically and metonymically. Furthermore, the analysis indicates that the four major series are, in turn, systematically linked to each other. It appears that Brancusi conceived his series in opposing parallel pairs which could be transformed, through mediating elements, into each other. When the series are finally linked the conceptual infrastructure, or metalanguage, which establishes the relationships between the totality and the parts, becomes clear. Various other oppositions, such as those of male/female, sacred/profane, human/animal, can also be seen to relate opposing works and series to each other. The entire structure, however, rotates around the Bergsonian dualism of the material and the spiritual. Only when the final work has been placed in the structuralist matrix can the system be perceived as coherent. Nonetheless, once the basic concepts of Brancusi's early works and their semantic relationships are clearly understood, his system of sculptures can be seen to proceed with such rigor that the existence of certain works can be predicted. This, in turn, validates the application of both the methodology and the analysis. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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鄧偉權. / Thesis (M.A.)--香港中文大學硏究院藝術學部. / Reprint of manuscript. / Includes bibliographical references (leaves 435-471). / Deng Weiquan. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xue bu. / 引言 --- p.iii / Chapter 第一章 --- 陳師曾和他的時代 --- p.1 / Chapter 第二章 --- 陳師曾的書畫篆刻藝術 --- p.87 / Chapter 第一節 --- 陳師曾的山水畫 --- p.87 / Chapter 第二節 --- 陳師曾的花鳥畫 --- p.126 / Chapter 第三節 --- 陳師曾的人物畫 --- p.173 / Chapter 第四節 --- 陳師曾的書法和篆刻 --- p.201 / Chapter 第三章 --- 陳師曾的美術史地位 --- p.257 / Chapter 附錄 --- 附錄 / Chapter I --- 陳師曾編年事輯 --- p.1 / Chapter II --- 書畫圖版 --- p.94 / Chapter III --- 印章圖版 --- p.191 / Chapter IV --- 書畫作品著錄 --- p.218 / Chapter V --- 印章作品著錄 --- p.416 / 參考書目 --- p.435

A work in Nineteenth-century American intellectual history, this dissertation considers the views of Orestes Brownson relating to the intellectual, spiritual, and social activities and changes within the United States during Brownson's lifetime (1803-1876). Brownson is revealed as a consistent absolutist in his basic approach. He maintained a belief in a "divine" absolute truth based on a balance of all extremes. He further maintained that this balance would best be discovered through the use of reason guided by authoritative religious teaching of these "divine" absolute truths.The events in America during Brownson's lifetime constituted challenges and struggles in the new republic that would make it a different country than that existing in 1783. The balance of Brownson's "divine" absolute truth would lead him to criticize all forms of extremism present in Nineteenth-century America; pure democracy, centralization of the federal government, dogmatism, socialism, collectivism, the free-soil movement, feminism, extreme individualism, utopianism, anarchism, special interests, social despotism, the increased power of the Executive, Radical Republicanism, and philanthropy.Brownson was an intellectual gadfly, commenting and criticizing in the face of changes in America, while all the time maintaining his original premises. He abhorred extremism from all quarters. Consequently, there was hardly a reformer, an idealist, or a theorist of any brand who did not at some time offend him and whom he did not subsequently offend by his journalistic retorts.Based primarily on Brownson's original writings and manuscripts and Henry F. Brownson's biography of his father, this discussion of Orestes Brownson's social and political views begins with a biographical sketch of the man behind the thought and then continues with an inquiry into the thought behind the man. Previous Brownsonian scholars have contended that Brownson was inconsistent in his views, directing particular attention to his numerous changes in religious affiliation prior to his conversion to Roman Catholicism in 1844. However, this so-called pilgrimage is considered here as merely a search for the correct authoritative religious teaching to guide reason to find the "divine" absolute truth Brownson already believed to exist. The arguments for Brownson's inconsistency are also based upon his consideration of so vast and varied a number of issues. Such arguments are corrected by placing Brownson in perspective in the discussion of "Orestes A. Brownson and the Spirit of his Times."This examination of Brownson's work discusses his approach to the origin and nature of government, sovereignty and constitutionalism, specifically with respect to the American republic, as well as Brownson's views on the authority of the church and the state. These two subjects of the dissertation lay the foundation for a discussion of Brownson's criticisms of more specific issues of Nineteenth-century America; women, the family, the education of children, and reform and change in government. On these issues, Brownson's criticisms of extreme positions becomes clearer.The final chapter "Orestes Brownson and the American Experience" considers Brownson's arguments for the balance within the American political system. The fundamentals of American government had begun crack and sway under increased centralization of the federal government, increased federal executive authority, and pure democracy brought about by westward expansion, immigration, the slavery issue, and the Civil War. By the end of his life, Brownson was out-of-step with his times, because, in a changed world, he still wrote from the same basic premises of "divine" absolute truth found through reason guided by authoritative religious teachings.

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Heidelberg, Universiẗat, Diss., 2007.