Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art. By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin. Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation. / English Studies / M.A. (English)

Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art. By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin. Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation. / English Studies / M.A. (English)

Wong Kun Chun, Eric. / Bibliography: leaves 70-88 / Thesis (M.Div.)--Chinese University of Hong Kong

Esta dissertação visa iniciar um processo de reconhecimento e aprofundamento sobre a arquitetura paulista, ou escola paulista, ou arquitetura brutalista paulista, com ênfase no período 1955-1975. Seu objetivo é colaborar no sentido de uma adequada qualificação dessa tendência arquitetônica autônoma, peculiar, de alta qualidade e valor indiscutível; que, pertencendo ao âmbito da arquitetura moderna brasileira, não pode ou deve ser confundida com a arquitetura da vertente carioca, da qual vai se destacar conceitualmente e nos resultados formais. A dissertação consta de duas partes, distintas e não imediatamente complementares. Na primeira parte são realizados ensaios de cunho bibliográfico, e de abordagem crítica. Inicialmente, revisando as referências esparsas e desconexas sobre essa arquitetura paulista e sobre seu qualificativo ‘brutalista’. Seguem-se estudos sobre seus possíveis precedentes notáveis, cujo reconhecimento poderá auxiliar a compreender melhor as características estéticas e éticas dessa arquitetura; sendo reexaminadas as obras dos mestres Le Corbusier e Mies Van der Rohe, destacando e nelas todo e qualquer ponto de aproximação com a arquitetura paulista brutalista; bem como reavalianda a contribuição do Novo Brutalismo inglês, de maneira a verificar se há questões estéticas e éticas comuns. Segue-se uma breve resenha dos debates contemporâneos acerca dos conceitos de tipo, modelo e estrutura formal, que ou estão presentes nos debates da escola paulista, ou serão empregados a seguir. A segunda parte da dissertação prossegue na investigação das características da escola paulista brutalista através da análise da obra residencial do arquiteto Paulo Mendes da Rocha. O recorte de análise, restrito às residências projetadas pelo arquiteto, permite um estudo aprofundado, de marco formal-arquitetônico, partindo da certeza de comparecem nessa obra alguns dos temas caros à escola paulista, quais sejam a idéia de casaapartamento, a identidade entre estrutura e volumetria edificada, a idéia de ‘caixa’ estrutural habitável, entre outros. As análises vão buscar levantar temas de debate, mais do que chegar a conclusões acabadas, sequer possíveis na obra de um criador em pleno exercício de sua capacidade profissional. A dissertação se encerra com conclusões breves e experimentais. / This dissertation aim is to begin a deepening process of recognition of São Paulo’s architecture, or Paulista School, or Brutalist Paulista School, mainly on 1955- 1975’s period. Its object is to contribute to a proper qualification of this autonomous architectural tendency, appreciated as a peculiar, high quality and valuable one. Also, to elucidate that, although belonging to the realm of Modern Brazilian Architecture, it can not or should not be confounded with the Carioca School; inasmuch as its concepts and formal results greatly differ. This dissertation includes two different and not immediately complementary sections. The first section aims to supply some bibliographical surveys, with a critical approach. First, gathering as much as possible the scattered and disconnected references about Paulista architecture and about its qualification as “Brutalist. Follows some studies on notable precedents, whose recognition can help comprehending the aesthetic and ethic characteristics of Brutalist Paulista architecture; mainly, the works of masters as Le Corbusier and Mies van der Rohe, underscoring and detaching every and each points of proximity with Brutalist Paulista architecture. Then, briefly reviewing Britain’s New Brutalism contribution, only to verify if there are any common ethic/aesthetic issues between both tendencies. Follows an overview on recent debates on the concepts of type, model and formal structure, that are either present on local Paulista debates, or are to be used on this work’s sequence. The second section wishes to examine sistematically the characteristics of the Brutalist Paulista school, through the probing of the residential work of architect Paulo Mendes da Rocha; so as, circumscribing the clipping to the houses, there can be afforded more deepen studies, oriented on a formal and architectonic focus. The selection of Mendes da Rocha half a century houses also helps to understand some widespread Brutalist Paulista architecture characteristics - like the detached apartment-house type, the close identity between structure and built volume and the preference on structural “box” idea, etc. These investigations long for arousing some initial arguments, rather than arriving to finished conclusions, quite not possible as much as it deals with the work of a living creator, still in his professional labor apex. The dissertation ends with some experimental and brief conclusions.

An overview on a highly intertwined generative system through Stockhausen's late piece Lichter - Wasser (1998-1999). Lichter - Wasser is a work that constantly attempts to conjugate the contemplation and the paroxism of an ur-element, the so called super formula, with the long sought utopia of the infinite progress of perception faculties (a journey formally began in 1955 with Stockhausen's composition Gruppen, for three orchestral groups).

李天鈞. / "2004年8月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 83-89). / 附中英文摘要. / "2004 nian 8 yue". / Li Tianjun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 83-89). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.01 / Chapter 第一章 --- 潘寧博的神學人觀的建構背景與發展 --- p.05 / Chapter 1. --- 潘寧博對神學工作的理解 --- p.06 / Chapter 2. --- 潘寧博神學工作的目標並其實踐中所面對的處境及回應 --- p.13 / Chapter 3. --- 潘寧博的神學走向人類學的原因 --- p.21 / Chapter 4. --- 潘寧博神學人觀的建構過程 --- p.29 / Chapter 第二章 --- 潘寧博的神學人觀的内容 --- p.36 / Chapter 1. --- 潘寧博在《系統神學》卷二對神學人觀的理解 --- p.38 / Chapter 2. --- 人類的命運與上帝的形象 --- p.42 / Chapter 3. --- 人類的罪惡與普遍性的罪惡 --- p.48 / Chapter 4. --- 聖靈在人類中的工作 --- p.54 / Chapter 5. --- 耶穌基督與人類的關係 --- p.59 / Chapter 6. --- 對潘寧博的神學人觀的評論 --- p.63 / Chapter 第三章 --- 潘寧博的神學人觀對儒耶對話的意義 --- p.68 / Chapter 1. --- 對話的模式的選擇 --- p.68 / Chapter 2. --- 潘寧博神學人觀在儒耶對話中人觀討論方面的意義 --- p.71 / 總結 --- p.81 / 參考書目 --- p.83-89

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Le livre brisé (1989) est le cinquième roman de Serge Doubrovsky et poursuit le projet autofictionnel amorcé dans Fils (1977). L'écriture, le propos, la forme et la lecture de ce livre sont conditionnés par l'exigence de vérité et la fictionnalisation du matériel de l'expérience. Ce mémoire montre comment les modalités et les rouages de l'autofiction constituent un dispositif particulier qui construit le sujet de l'énonciation dans son rapport à une « vérité » dont le texte se fait à la fois la condition et le témoin. Il opte pour une lecture du roman qui montre le fonctionnement interne du texte et son dispositif de lecture, et fait appel à des notions psychanalytiques et narratives. Dans l'introduction, il présente l'autofiction suivant ses diverses définitions (Colonna: 1989, Doubrovsky: 1988, Genette: 1991, Lecarme: 1992, Lejeune: 1975), mais surtout telle que Doubrovsky la définit et la pratique. Dans un premier temps, ce mémoire rend compte des tensions liées au pacte autofictionnel qui animent l'écriture du Livre brisé et qui en caractérisent la lecture. Il s'attache aux tensions qui existent entre Serge et Ilse, qui veulent tous deux être le centre du roman et qui se disputent l'exactitude des faits. Il montre les moments où la narration bascule d'une écriture en prose à des fragments poétiques déliés et où la rédaction de souvenirs alterne avec celle du présent de l'écriture, puis décrit les effets liés à ces déplacements. En relevant et en décrivant les moments du récit où la tension entre expérience vécue et fiction est à son plus fort, ce mémoire montre comment le texte prend à témoin le lecteur, cherche à lui faire reconnaitre et admettre la faute de Serge (celle qui a conduit, pense-t-il, à la mort d'Ilse). Dans un deuxième temps, le mémoire étudie l'enjeu central de cette écriture qui met en acte la culpabilité. Il décrit les lieux où elle se manifeste et fait retour. Il s'intéresse à la représentation du père dans le texte (Freud: 1995) et à celle d'une culpabilité du survivant (Bayle: 2003). Puis, il met en rapport cette culpabilité et la faute que Serge revendique (avoir mené par son écriture sa femme au suicide). ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Le livre brisé, Serge Doubrovsky, autofiction, psychanalyse, culpabilité, survivant

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