The purpose of this thesis is to analyse the function and the modulations of the figure of Rimbaud in the works of Rene Char, from 1927 to 1988 approximately. / This analysis, which traces the passage---from the latent to the manifest---of the figure of Rimbaud through Char's works, is situated at the junction of two series of texts, one "interior" (Char's writings on Rimbaud), the other "exterior" (twentieth-century interpretations of Rimbaud). Intertexuality, understood to mean the influence of Rimbaud on Rene Char, emerges as a reading, that is a "critique" of Rimbaud, the elaboration of a "Rimbaldian" text of which Char himself is the legatee. / What is designated in this thesis as the "metaphore Rimbaud" in the work of Rene Char refers to a process of aesthetic conceptualization rooted in the figure of Rimbaud. The "conceptual metaphor" (a notion borrowed from the works of Judith Schlanger) constructs rather than describes an interpretation. The metaphor is thus a means of intellectual invention, a heuristic act and an instrument of investigation. For Char, the metaphorical Rimbaud is the space into which he projects and imagines the work to be created. Thus, the figure of Rimbaud, through a working and reworking of discrepancies and margins, is gradually transformed by the poet and becomes, finally, a true metaphor, that is, a conceptual hypothesis which is supple and ample enough to accommodate all of Char's poetry.

Sir John Steell was the most eminent and respected Scottish sculptor of his generation. He set new standards of achievement during his long and prolific career, and consistently worked towards the advancement of Scottish arts. He executed many important public monument projects for Scotland and Great Britain, and sent work to India, New Zealand and the United States. He introduced fine art bronze casting to Scotland, creating the Grove Foundry in Edinburgh in 1849 to cast the Scottish National Monument to the Duke of Wellington. Designated Sculptor in Ordinary to Her Majesty for Scotland by Queen Victoria in 1838, Steell earned a deserved reputation as the finest sculptor in Scotland. Until now, there has never been a comprehensive assessment of Steell’s life and work. The thesis and accompanying catalogue raisonne examine Steell’s career by focussing upon his major monument projects, but also assess his portraiture work and activities within the Scottish Victorian art world. Steell matured as a sculptor within a nation that was maturing aesthetically. Previous generations of Scottish sculptors with talent and ambition were essentially forced by market conditions to seek their fortunes elsewhere. Steell was the first Scottish sculptor to have a major international career while remaining in Edinburgh. Steell’s success was often used as an example that Scottish sculpture had achieved parity with sculptural practice in England and Europe. The thesis examines the conditions that allowed Steell to enjoy such a huge level of success in Edinburgh, and places Steell in context with English and European counterparts. The thesis also assesses the political and social conditions in Edinburgh that allowed Steell to dominate the local market. Also addressed are Steell’s activities within the Royal Scottish Academy, and his relationship with the Board of Manufactures, which provided early patronage and assistance. In terms of patronage, projects, methods, style, genres, display and opportunities, Steell’s career offers an excellent example of the conditions under which Victorian sculpture was created. Steell sculpted the most eminent and famous Britons of hs day, and played an essential role in the commemoration of such individuals as Sir Walter Scott, Wellington, Prince Albert and Queen Victoria for Scotland. The thesis and catalogue comprehensively examine the life and art of the man known for over fifty years as Sculptor for Scotland.

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G.W.L. Marshall-Hall began work as first Ormond Professor of Music at Melbourne University in 1891. In July and August 1898 he published a book of poems and gave a public address, which, together, led to demands for his dismissal. The outcry against him came largely from a section of the community which Matthew Arnold, some thirty years earlier in England, had identified as Hebraic. The radical contrast between, on the one hand, the underlying assumptions of this group, particularly its epistemology and axiology and, on the other, the Hellenic, Existentialist axioms that informed Marshall-Hall’s thinking, created a situation which was structurally conducive to the hostile outbreak of collective action that occurred. This structural conductiveness was reinforced by a number of elements of strain - a belief in the debased character of the times; a pervasive Manicheanism; various misunderstandings in regard to Marshall-Hall’s views, deriving from the unsystematic and frequently allegorical manner of their exposition; and contemporary perceptions of his role as a university teacher, and of the tone in which his outbursts were couched (itself the outcome of a blend of conscious beliefs and unconscious motivation). (For complete abstract open document)

Dissertation--Literaturwissenschaft--Basel, 1975. / Bibliogr. p. 185-197.

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This thesis explores aspects of Melville’s presentation of both the whale and the human bodies in Moby-Dick and human bodies in other important novels. It argues that Melville uses his presentation of bodies to explore some of the versions of confinement those bodies experience, and by doing so, analyses the psychology which subtends that confinement. Throughout Melville’s works bodies are confined, both within literal spatial limits and by the psychology which creates and/or accepts these spatial limits. The thesis argues that perhaps the most important version of bodily confinement Melville addresses is the impulse to conquer bodies, both that of the other and one’s own. It adopts a largely psychoanalytic approach to interpreting bodies and their impulse to conquer, so that the body is seen to figure both in its actions and its external appearance the operations of the inner psyche. The figure of the body is equally prevalent in Melville’s exploration of nationalist conquest, where, as with Manifest Destiny and antebellum expansionism, the psychological and physical lack experienced by characters can be read as motivating factors in the ideology of conquest. A final important strand of the thesis is its argument in favour of a gradual shift in Melville’s interpretation of the value and possibility of genuine communion between human beings and between humans and the whale. One may read Typee as an attempt by Melville to explore the possibility of a this-worldly utopia in which human beings can return to a version of primitive interconnectedness. This exploration may be seen to be extended in Moby-Dick, particularly in Ishmael’s attempts to find communion with others and in some moments of encounter with the whales. The thesis uses phenomenology as a theory to interpret what Melville is trying to suggest in these moments of encounter. However, it argues, finally, that such encounter, or ‘intersubjectivity’ is eventually jettisoned, especially in the works after Moby-Dick. By the end of Melville’s life and work, any hope of an intersubjective utopia he may have harboured as a younger man have been removed in favour of a refusal actually to assert any final ‘truth’ about social, political or even religious experience. Billy Budd, his last body, is hanged, and his final word is silence.

John Macmurray was a Scottish moral philosopher who wrote during the middle part of the twentieth century and was influenced but not dominated by many schools of philosophy such as personalism and empiricism. The main task of this study is to examine critically, Macmurray's concept of community and its importance for his understanding of religion, the self and Christian ethics. John Macmurray presented three modes of apperception, which are variously labelled, but are most commonly called the scientific, artistic and religious modes. Macmurray considered the first two modes to be negative or inadequate and the third mode, i.e. the religious mode, to be the only positive or adequate mode. The focal point of the mode of religions is the personal relations within the context of community. Macmurray substituted ‘I do' from Descartes' ‘I Think' which introduced the assumption that action is primary and reflection is secondary. Macmurray argued that immediate experience is broken by reflection, but relection is necessary since it makes it possible to examine actions without ‘changing the world'. Macmurray held that the relation between the self an dthe orther within the community is seminal to all other activities and modes of relection. The relationships motivated by love an din terms of the other, i.e. personal relations, are the basic constituent of community as opposed to society which is motivated by fear and is based upon impersonal relationships. Macmurray asserted that the religious mode of apperception, i.e. the communal, is central to all human activity and reflection. MacMurray drew the well founded conclusion that man's whole life is rooted in religious mode. This places religion in the sphere of every day experience, while dismissing the assumption that religion is confined to rare, subjective and particular experiences. Macmurray also pointed out that religion is beneficial to the community on the practical level, since it contributes to the community's self-aware-approach to ethics, i.e. the scientific and artistic modes, as a basis for ethics and argued that the communal mode of apperception was the only adequate perception of ethics. The concept of community and its concomitant conceptions of fellowship and the personal ‘I-Thou' relation are the foundation upon which Macmurray based his explanation and examination of the self, religion and ethics. Macmurray has placed the concept of community at the very centre of his definition and thinking about religion, the self and Christian ethics. However, I have argued that a completely communal or relational view does not represent adequately or explore fully the concepts of the self, religion and Christian ethics. I have argued that Macmurray's dependence upon the idea of community and his utilisation of the concept of community is threatened by a serious internal contradication within the concept of community, i.e. there are two opposing and irreconcilable elements, which are the exclusiveness of the 'I-Thou' relation as opposed to the all inclusive nature of the fellowship within the community. In my view the idea of community by itself is inadequate when used to explain completely and to define the self. Macmurray rejected the idea of the 'isolated-I' and only considered the self in terms of the 'I-Thou', i.e. in terms of its communal elements. However, the rejection of the 'isolated-I' means that only the instrumental valuation will be applicable, while the intrinsic, unique value of the individual, upon which the instrumental valuation is predicated, is overlooked. I would argue that Macmurray's emphasis upon the community implies that the community is the primary phenomenon, while reducing the individual to an epiphenomenon. I have argued that Macmurray's approach threatens to reduce religion to nothing more than a constituent of society, by overlooking the solitary aspects of religion, i.e. the individual straggle and quest. I have argued that a heterocentric, i.e. mainly communal, view of ethics is over-simplified and will lead to questionable conclusions. Heterocentrism presents problems since it threatens to become nothing more than altruism which may lead people to make incompatible and different decisions. Since the basic element in the communal mode of morality is the harmony of the community, one might only apply what may be described as the minimal interpretation of morality. I have argued that Macmurray's idea of community, when applied to ethics and in particular to Christian ethics, threatens to reduce Jesus' teachings about ethics to simply an anthropological study. There is an inherent danger in trying to understand God in anthropological terms, since one cannot fully understand the eternal in terms of the temporary. Macmurray has over-emphasised the love between neighbours and not given God's love its central mediating and modifying place in human relations. The theocentric approach cannot be totally defined heterocentrically. Macmurray's thought contained valuable insights and it should be carefully studied and' utilised. However, there is a danger in viewing things only in terms of community, since the community may well become the principle phenomenon to be investigated. One might say that Christian ethics and the Christian religion is not merely a matter of community, but that the community is an integral part of our understanding of both Christian ethics and the Christian religion.

This thesis speaks about Czech violist Ladislav Černý and the Prague quartet which was founded by him. It is divided into five chapters. The first chapter is dedicated to Ladislav Černý´s childhood, studies and the beginnings of his artistic career. The second chapter is the main focus of this thesis. It summarizes forty six years of activity of the Prague quartet. It describes important concerts and recordings of the quartet and also the style of interpretation. The next chapter deals with the solo career of Ladislav Černý. The fourth chapter is focused on his teaching activities and the last chapter provides a small description of his personality. In the attachment we can find photograps and programs from concerts.