錢學武. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 158-163. / Qian Xuewu. / 內容提要 --- p.1 / Chapter 第一章 --- 緖論 --- p.2 / Chapter 第一節 --- 題材釋義 --- p.2 / Chapter 第二節 --- 廣度´ؤ´ؤ評價大詩人的一項標準 --- p.3 / Chapter 第三節 --- 余光中詩題材的評論 --- p.6 / Chapter 第四節 --- 小結 --- p.8 / Chapter 第二章 --- 余光中詩題材分類硏究 --- p.11 / Chapter 第一節 --- 建立題材分類的系統：人、物、景、事、地 --- p.11 / Chapter 第二節 --- 題材分類的局限 --- p.14 / Chapter 第三節 --- 余光中詩題材分析表解 --- p.15 / Chapter 第四節 --- 余光中詩題材分類¨®Ơ明 一、人 二、物三、景 四、事五、地 --- p.17 / Chapter 第五節 --- 小結 --- p.36 / Chapter 第三章 --- 余光中詩題材之嬗變 --- p.41 / Chapter 第一節 --- 佘光中詩分期研究略述 --- p.41 / Chapter 第二節 --- 余光中詩題材的分期 --- p.44 / Chapter 一、 --- 台灣第一期 --- p.49 / Chapter 二、 --- 美國第一期 --- p.58 / Chapter 三、 --- 台灣第二期 --- p.61 / Chapter 四、 --- 美國第二期 --- p.65 / Chapter 五、 --- 台灣第三期 --- p.68 / Chapter 六、 --- 香港時期 --- p.74 / Chapter 七、 --- 台灣第四期 --- p.83 / Chapter 第三節 --- 小結 --- p.94 / Chapter 第四章 --- 余光中詩題材廣闊多變的原因 --- p.100 / Chapter 第一節 --- 重視詩歌創作 銳意開拓題材 --- p.100 / Chapter 第二節 --- 知識廣博視野闊大 --- p.104 / Chapter 第三節 --- 時代變化多生活體驗 --- p.113 / Chapter 第四節 --- 想像力豐富 --- p.118 / Chapter 第五節 --- 對語言文字有高強的駕馭力 --- p.123 / Chapter 第六節 --- 小結 --- p.134 / Chapter 第五章 --- 餘論 --- p.138 / Chapter 第一節 --- 通過比較看余光中詩的廣度 一、人 二、物三、景 四、事五、地 --- p.138 / Chapter 第二節 --- 簡析佘光中處理題材的手法 一、人 二、物三、景 四、事五、地 --- p.143 / Chapter 第三節 --- 小結 --- p.150 / 附錄一臧克家詩題材分析表解說明 --- p.154 / 附錄二余光中作品選錄 --- p.155 / 參考書目 --- p.159

Th. 3e cycle--Etud. anglophones--Grenoble 3, 1986.

(in English): This thesis focused on the phenomenon of unplastered brick through the work of Czech architects Jan Kotěra, Josef Gočár, Otakar Novotný and Jaroslav Rössler, who began working with this material between 1906-1913, and then during the 1920s, when they discovered Possibilities of gray masonry also architects Pavel Janák and Jaroslav Vondrák. Selected architects, working mainly in Prague and other Czech cities, belong to the circle of pupils and collaborators of the architect Jan Kotěra. The method of work consists in the knowledge of brick material through a formal analysis of a specific architectural work and its placement in a broader art historical and socio-historical context, which allows its interpretation. My research questions include how architects work with brick material and how these manifestations change. I am also interested in which buildings are designed in gray material in terms of typology. The work considers the changing relationship of architecture to brick material, as it can be perceived as a purely traditional and modern material. Therefore, the first chapters are devoted to the topic of brick and a brief explanation of its characteristics. I also consider it essential in the local context to deal with the tradition of using gray masonry in historical and...

No description available.

No description available.

No description available.

Elie Wiesel, a Holocaust survivor, confronts a tragic dilemma: he must bear witness in order to pay respect to the memory of victims and perhaps help prevent a repetition of history. But are there words that can express the horror of the Holocaust? Would silence not be more appropriate in respect to the victims? / Elie Wiesel is not the first to confront such a dilemma. Throughout Jewish history, tragedies and catastrophes have forced Jewish writers to face the issue. Many literary schools have emerged, particularly in the "modern period" (1850-1945), which have dealt with the question of how to best respond to the tragedy. It is therefore fitting to try and consider Elie Wiesel's works in light of these various literary currents. / However, the Holocaust is not just another tragedy, not even another catastrophe. The event has no precedent; it is unique; it represents the ultimate evil. How to come to terms with it? What is the way between the powerlessness of language and the impossibility of silence? Elie Wiesel must find the delicate art of making silence be heard beyond the noise of words. He will suggest rather than tell the event. He will maintain a distance to protect the secret of the victims in front of the horror. Survivors who share the secret, express themselves with a code, which is not transmissible. Language has been devalued and words have lost their meaning. But to remain silent might also be a form of treason. / From Night, his first book, and throughout all his works, Wiesel assiduously develops his way of bearing witness in the name of the victims. He rejects the silence which would be synonymous with passive acceptance. He identifies with Job and demands account from God for His absence and His silence, while evil was committed. He distrusts language but must find the way to translate the uniqueness of the Holocaust. He finds his inspiration in the tales and legends of the literature of the Bible, the Talmud and the Hassidism. He evokes, suggests and tells while trying to respect the blanks between the words. In language and in silence, Wiesel developed a certain art of suggesting for what cannot be told otherwise.

The stage is a place where symbolic space and real space, symbolic time and real time are superimposed. The critical part of our thought process entitled La figure du chansonnier: resurgence du sujet, tries to examine the way singers (Gilles Vigneault as it happens) create a symbolic place where the risk of fusion between reality and symbolism is much lesser than in other art forms: therefore it is possible not to dissociate the singer as shown to the public and the I that both mark out and cover his work. We think this is a very soft way to work the stage, that values the union between the subject and his message. / On the other hand, theater through all its conventions more clearly defines the fusion between reality and symbolism and the risk involved with such an enterprise. Maybe the actor who is both symbolically and literally under the lights is in much greater danger than the singer of being irreconcilably and without an end exposed to that fusion of reality and symbolism. We think that art, which probably consists of creating a symbolic distancing, gets its greatest strength when its second will is in motion: achieving symbolism and then coming back to reality transformed (for the better). What interested us all through Marie-la-putain, the play which constitutes the creation part of our thesis is to investigate the grey zone where through the spotlight there is no going back to reality: we don't go back to reality, or if we do, it is with great difficulty. All through the play the heroine will on stage try to sacrifice a part of her she would not normally have. / The creation part, through Marie, is in fact the opposite of the critical part: it examines the stage as a place that allows disappropriation and dissolution.

There is no abstract available for this thesis.

Prepared by Thomas A. Kochan and Joel Cutcher-Gershenfeld, with additional contributions from Robert B. McKersie ... [et al]. / Bibliography: p. 38-39. / Support for this research was provided by the U.S. Department of Labor, Bureau of Labor Management Relations and Cooperative programs contract no. J 9-P-4-0021