Chan Kwan Hon Donald. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2005-2006, design report."

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The disparity of style and quality between O'Neill's early (1920-1932) and later (1932-1940) plays is explored in this study with emphasis upon O'Neill's use of auto symbolic motifs in the later plays, A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night: O'Neill's ability to fuse these auto symbolic motifs into coherent plots creates an emotional intensity in these plays which was absent from his early plays. Beginning with the composition of Ah Wilderness! (1932) O'Neill's plays diverge conspicuously from the earlier compositions, in terms of plot simplicity, character population, reenactment 3f experience in the style of realism, and unity of action and idea. These are the characteristics of his style during the later period which allowed him to make powerful symbols from common objects (autosymbols), such as a uniform and a thoroughbred mare in A Touch of the Poet, a drunkard who despises illusions in The Iceman Cometh, and a wedding dress, a note, and a bank of fog in Long Day's Journey Into Night.Chapter One of this study reviews those characteristics of O'Neill early plays which Eric Bentley has called O'Neill's "notorious faults." According to Bentley and others, O'Neill's early plays are too idea oriented, that is, the themes and symbols of such plays as Mourning Becomes Electra, Strange Interlude, and The Great God Brown do not arise from the action of the story but appear to be grafted onto the story.Chapter One demonstrates that O'Neill's early plays are dramatically ineffective compared to the later ones because of the pretentiousness of his ideas, themes and symbols, and that the incoherent stories and grafted symbolism of the early plays are the result of this pretentiousness.Ronald Peacock's definition of dramatic art is cited in order to demonstrate O'Neill's faulty approach to the drama during the early period and in order to provide a way of talking about the superior quality of the later plays. Before 1932, O'Neill wrote plays in order to demonstrate philosophic ideas; for example, in Dynamo he confronted the idea of the death of the old gods and the failure of science to replace the old gods, but his effort failed because he created an experience (plot) in order to discuss his idea. According to Peacock, this method is backwards; the great play is an experience reenacted as idea, not an idea reenacted as experience. Chapter One suggests that O'Neill's tendency to create a story which demonstrates an idea led him into the grafted symbolism and incoherent plots of the early period, and that this tendency is responsible for the poor characterization of the early plays in which characters such as Nina Leeds, Lavinia Mannon, and Lazarus of Bethany seem too concerned with superpersonal ideas to exist as individuals. After the composition of Ah Wilderness! O'Neill reversed his aesthetic and reenacted experience as ideas.Chapter Two shows how, beginning with his planned cycle, A Tale of Possessors Self-Dispossessed, O'Neill placed a growing emphasis upon simplicity of action and individualized characterization, In A Touch of the Poet, for example, the simplicity of action allows O'Neill to create Con Melody, a vibrant and totally believable character. Although the themes of love-hate relations between family members, excessive pride, and escapism are not new to the O'Neill canon, they now arise from the action and character instead of being grafted onto the work. Furthermore, the principal agent for the transmission of these themes is O'Neill's use of the auto symbolic mare and uniform. Also, the symbolic are not merely associated with an individual, but cluster around each of the major characters of the play. In this way these symbols are auto symbolic because they are both symbol of the idea and simultaneously objects of action-in the plot.These same qualities are characteristic of the symbol of Hickey in The Iceman Cometh. He is both a character in the play and a symbolic figure. In Chapter Three Hickey's dual role associates him symbolically with the lie of the pipe dream and the difficulty and necessity of moral reform. In the play, it becomes obvious that Hickey is a symbol of hopelessness when it is revealed that his reform is also an illusion. Because he is a three-dimensional figure as well as a symbolic figure he is auto symbolic.Chapter Four suggests that Mary's wedding dress, Tyrone's note from Booth, and the fog which encases the Tyrone household are O'Neill's most poignant and emotional auto symbols. O'Neill perfected his symbolic technique in this masterpiece, Long Day's Journey Into Night, in the final scene when Mary carries her wedding dress, which is symbolic of the past and at the same time literally an object of action.In concluding remarks, it is shown that we may account for some of the disparity of style and quality between the early and later plays by an examination of the simplicity of action and unity of symbol and action in A Touch of the Poet, The Iceman Cometh, and Long Day's Journey Into Night, and that the beginning of O'Neill's rejuvenated vision of the drama occurs when he first sketched the cycle, A Tale of Possessors Self-Dispossessed.

Notre mémoire porte sur la jeunesse et les débuts de la carrière de Marc-Aurèle Fortin. Cet artiste québécois est l'un des plus aimés et des plus connus du public. Il a fait l'objet d'un nombre considérable de publications qui ont participé, selon nous, à lui donner un statut de figure légendaire. Par notre recherche, nous souhaitons montrer, plus spécifiquement, comment le discours sur les trente-cinq premières années de la vie du peintre a contribué à cette mise en légende. Pour ce faire, nous nous basons sur les travaux de Nathalie Heinich ainsi que sur ceux d'Ernst Kris et Otto Kurz. Nous avons dégagé de leurs ouvrages une série de « motifs » ou d'anecdotes qui, lorsque présents dans les biographies d'artistes, concourent, selon ces auteurs, à les présenter comme des êtres admirables et hors du commun. En analysant chronologiquement, jusqu'au décès de Fortin, comment s'est construit, auteur après auteur, le discours portant sur sa jeunesse et les débuts de sa carrière, nous relevons, dans chacun des articles de critiques, des catalogues et des extraits de livres, la présence de ces motifs ou anecdotes. Nous mettons ainsi en relief la façon dont sont apparus les premiers éléments de la légende du peintre, puis comment, avec le temps, cette légende s'est enracinée dans les discours et s'est enrichie de nouvelles facettes, et ce, jusqu'à la fin des années 1960. Enfin, nous examinons comment les monographies, les films et les biographies romancées, parus après le décès de l'artiste, continuent de véhiculer les principaux éléments de la légende de Fortin liés aux trente-cinq premières années de sa vie. Parmi les « motifs » identifiés par Heinich ou Kris et Kurz qui sont au fondement de cette partie de la légende du peintre, nous avons entre autres noté : la création d'une image de l'enfance dans un cadre rustique idyllique propice à un contact privilégié avec la nature; l'opposition parentale et les obstacles posés à la vocation de l'artiste; la précocité d'un talent exceptionnel permettant d'exclure les influences de l'enseignement reçu et de mettre l'accent sur l'autodidaxie ainsi que sur l'apprentissage individuel auprès de la seule nature, garante de l'authenticité et de l'originalité d'une œuvre « unique » et admirable. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Marc-Aurèle Fortin, biographie, jeunesse et années de formation, mise en légende.

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Matthew Arnold's five long poems were published between 1852 and 1867. In these poems (Empedocles on Etna, Tristram and Iseult, Sohrab and Rustum, Balder Dead and Merope) Arnold tries to analyze a number of themes, like nature, moral values, poetics, and the place of authority in society. His analysis is dialectical, and one notices great distress and an inability to resolve these issues. This thesis examines Arnold's confusion, as well as his eventual calm acceptance of life in all its contradictions. It concludes subsequently that Arnold has a genuine desire to find personal dialectical syntheses where possible.

The presence or absence of food in the novels of Bernanos lie within a highly meaningful system of values and images. From a list of references to food, we will define the nature and role of food in Bernanos' novels. Then we shall try to bring out the symbolic system which organizes the various elements of this theme in one coherent whole. Thus we will see that food, scarce in this work, is always associated with evil, or tends to disappear in a system of images related to sin. As for food acceptable in the eyes of Bernanos, it also eventually loses its material quality by becoming metaphors of the spiritual world.