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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2013-2014. / Ce mémoire présente un recueil de nouvelles traversé par une succession de moments de clarté et d’ombre caractéristiques de la notion de deuil. La réflexion subséquente à ce recueil s’inspire de la vision de la création littéraire de Gabrielle Roy. L’essence de cette «grammaire» de la création est vue comme un ensemble de quatre conditions nécessaires à l’émergence d’une œuvre littéraire. Au moment d'entreprendre l'écriture, il ne faut pas prendre conscience des intentions qui nous habitent, demeurer disponible pour que la grâce de l’inspiration nous permette d’accéder au trésor d’images logé dans notre inconscient, prêt à rejaillir et à être ordonné par le fruit du travail en une œuvre de «vivante vérité» où, à la suite de Gabrielle Roy, il est possible d’atteindre «cette vie mystérieuse que des mots pourtant pareils à ceux de tous les jours parviennent parfois à capter à cause de leur assemblage comme tout neuf».

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfillment of the requirements for the degree of Doctor of Philosophy / This thesis provides a detailed account of the. events leading up to the war between Britain and the Zulu kingdom in 1879, and undertakes to explain why the war came about Theophilus Shepstone, Natal's Secretary for Native Affairs, had long aspired to bring Zululand under British control, When King Mpande died in 1872, his heir, Cetshwayo, was anxious for British support against rival claimants, and against the South African Republic, with which he had a border dispute. He therefore invited Shepstone to preside over a ceremony recognizing him as King. Shepstone's hopes that his 'coronation' of Cetshwayo would lead to greater control over Zululand were disappointed, but it did serve as a precedent for British intervention. The war of 1879, in the event, did not arise out of purely local causes, but was more the result of British imperial policy. Lord Carnarvon, the Secretary of State for the Colonies, aspired to 'confederate' the various territories of southern Africa into a 'self-governing' (that is, settler governed) dominion under the British flag. To this end Shepstone annexed the Transvaal in 1877. The border dispute now became a dispute between Britain and the Zulu kingdom, and relations deteriorated sharply. Sir Bartle Frere, the High Commissioner entrusted by Carnarvon with the task of implementing his confederation policy, decided that the continued independence of the Zulu kingdom was an insuperable obstacle to confederation. He therefore took advantage of certain border incidents (and of the warlike reputation of the Zulu) to send an ultimatum calculated to bring about war. The question this thesis particularly addresses is whether the war was an incidental by-product of a confederation policy carried out for other reasons, or whether bringing Zululand under British control was inherent in the policy itself. It argues that the latter was the case. The purpose of confederation was neither retrenchment nor to safeguard naval bases, as some have argued, but a comprehensive political and economic reconstruction of South African society in Which an independent Zulu kingdom could have no place. On the other hand, to argue that Zululand was invaded to facilitate the advance of capitalist production in South Africa., as others have done, is to state the case too narrowly. The desirability and inevitability of capitalist production was assumed rather than consciously striven for by those who believed that the invasion of Zululand was necessary to facilitate the progress and civilization of South Africa. / AC2017

彭淑芬. / 論文(神學碩士) -- 香港中文大學硏究院宗敎與神學學部, 1995. / 參考文獻: leaves i-iv (3rd group) / Peng Shufen. / 序 --- p.i / 撮要 --- p.iii / 前言 --- p.1 / Chapter 第一章 --- 尋根探源 / Chapter 一. --- 理智和宗敎植根期(1909-1924) --- p.5 / Chapter 二. --- 智識開展與獻身社運期（1925~1936) --- p.7 / Chapter 三. --- 神秘經驗與信仰闡釋期（1937~1949) --- p.9 / Chapter 第二章 --- 歷代愛觀與神秘主義方式 / Chapter 一. --- 基督敎傳統中的愛觀 --- p.13 / Chapter 1. --- 奧古斯丁： caritas的宗敎 --- p.14 / Chapter 2. --- 阿奎那：caritas的繼承 --- p.17 / Chapter 3. --- 路德：agape的恢復 --- p.19 / Chapter 二. --- 薇依的神秘主義方式 --- p.21 / Chapter 1. --- 神秘主義的特徵 --- p.21 / Chapter 2. --- 言說愛的方式 --- p.23 / Chapter 第三章 --- 薇依之愛的思想 / Chapter ´ؤ. --- 愛與認識 --- p.27 / Chapter 二. --- 愛上帝與不幸 --- p.29 / Chapter 三. --- 友誼 --- p.33 / Chapter 四. --- 愛鄰舍 --- p.36 / Chapter 五. --- 愛世界之美 --- p.38 / Chapter 六. --- 愛宗敎與聖事 --- p.41 / Chapter 第四章 --- 對談：薇依思想與基督敎愛觀 / Chapter 一. --- 愛上帝：agape與eros之間的爭論 --- p.45 / Chapter 二. --- 十字架聖愛：基督敎的核心愛觀 --- p.55 / Chapter 第五章 --- 綜合評價 / Chapter 一. --- 愛的實行 --- p.63 / Chapter 二. --- 對薇依的評述 --- p.68 / 結論 --- p.76 / 參考資料 --- p.（i)

A carreira do arquiteto e artista plástico Alcides da Rocha Miranda permeou três principais atividades: a acadêmica, como professor na faculdade arquitetura da USP, como idealizador e professor do Instituto Central de Artes da UnB; a de servidor público, como funcionário do IPHAN por 40 anos; e a atividade autônoma como arquiteto e artista plástico. O presente trabalho tem como foco o seu legado como arquiteto, que conta com 58 projetos publicados ou citados na bibliografia existente, construídos ou não construídos. É um conjunto significativo dentra da arquitetura moderna brasileira. A análise arquitetônica de 42 projetos entre pavilhões, volumes excepcionais, prismas e conjuntos indica que o arquiteto pertenceu ao grupo de Lucio Costa e da escola carioca, com algumas inflexões brutalistas a partir de 1955. Também dentro dos projetos analisados, o grupo das intervenções em sítios ou em edificações de interesse cultural é muito significativo, servindo como exemplo até hoje. / The career of the architect and artist Alcides da Rocha Miranda permeated three main activities. The first was the academic activity as a professor in the school of architecture of USP and as creator and professor of the Central Institute of Arts at UnB. The second was as a government employee at IPHAN for 40 years. And the third was the autonomous activity as an architect and artist. This dissertation focuses on his legacy as an architect, which has 58 projects published or cited in existing literature, whether built or not. It’s a significant accomplishment for the Brazillian modern architecture. The architectural analysis of 42 projects among pavilions, special volumes, prisms and assemblies indicates that he belonged to Lucio Costa’s group and to the Rio de Janeiro’s architecture school. Besides that, he presented some Brutalista’s inflections since 1955. Also within the projects reviewed, the group of interventions at sites or buildings of cultural interest is very significant, serving as an example until today.

Gabrielle Roy's novels are filled with images of childhood and aging, of family, of rural and urban French-Canadian settings, and of Roy's experiences as a young, impressionable teacher. The generation gaps present themselves in many human relationships and thread themselves throughout Roy's works. For this thesis, the generation gaps will be studied in three important relationships. Part One presents largely the relationships within the microcosm of the family. It explores the gap between mothers and daughters. La Rue Deschambault, La Route d'Altamont, and Bonheur d'Occasion are included. The relationship between the father and child in La Rue Deschambault, Bonheur d'Occasion, and Alexandre Chenevert will then be explored. Important elements of these relationships are: the circle of life, the inevitable resemblances between parent and child, and their reversal of roles as the parent ages. Part Two focuses on bridging the gap between teacher and student in Gabrielle Roy's works. This relationship is studied extensively in both La Petite Poule d'Eau and Ces Enfants de Ma Vie. The teachers in Roy's works represent the link from the family to the outside world, as education empowers students to progress. Part Two also presents the elderly as teachers of the children in their lives. This special relationship is seen in La Route d'Altamont. Part Three studies the relationship between life and nature. Roy's urban novels, Bonheur d'Occasion and Alexandre Chenevert, in which the author draws contrasts between rural and urban life, are explored. The gap between the urban dweller and nature is focused on in Alexandre Chenevert. The bond that links humankind and animals is studied in La Montagne Secrete. There is an important contrast between the inherent need for solitude and humankind's communion. The artist's place within the universe is shown to be unique. In this macro setting of humankind and the universe, all human relation ships take their places within these interwoven, circular patterns.

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