No description available.

Th. 3e cycle--Communication--Paris 8, 1987.

ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other. / Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek

Orientador: Sergio Roberto Rios do Prado / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-27T23:22:08Z (GMT). No. of bitstreams: 1 Vasiliadis_Andres_M.pdf: 30250859 bytes, checksum: 8decfec2ef2c65d9b63b6d99ddb32eb1 (MD5) Previous issue date: 2000 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Ciências Econômicas

Des etudes bibliographiques recentes indiquent que le total des etudes consacrees a Gabrielle Roy depasse maintenantHe millier de titres. C'est certainement une preuve de la vitalite de l'oeuvre de la romanciere canadienne. Un succes aussi Incontestable montre egalement que la creation litteraire du Quebec n'est plus une vue de 1'esprit. Gabrielle Roy fait partie d'une pleiade d'ecrivains contemporains qui contribuent tous, selon leurs moyens propres, a etablir les bases d'une tradition litteraire solide qui manquait jus-qu'alors au roman canadien-francais. Ltetude suivante s'attache avant tout aux sources de 1'imagination romanesque de Gabrielle Roy. La premiere partie traitera de la question des influences litteraires et verra comment elles se manifestent dans l'oeuvre de la romanciere canadienne. Ce probleme est important au Quebec au meme titre que dans tout pays francophone, car il met en cause toute 1'orientation d'une litterature nationale. Dans des pays ou la tradition litteraire est recente, il semble bien qu'il faille se resigner a aller chercher ailleurs ses mentors. Dans le cas de Gabrielle Roy, nous avons ete frappe par le fait que deux ecrivains frangais semblaient avoir ses preferences. Nous etudierons ce que Gabrielle Roy semble devoir a Georges Duhamel; elle donne 1'impression de fort bien connaitre sa Chronique des Pasquier ainsi que sa Vie et aventures de Salavin. De nombreux critiques avaient deja remarque 1'accent proustien de certaines pages de Gabrielle Roy. Nous passerons rapidement sur cette question, 1'enrichissant d'exemples nouveaux. L'originalite de Gabrielle Roy semble surtout se faire jour a travers deux themes principaux qui expriment sa vision du monde sous une forme poetique et symbolique. Le theme du voyage hante litteralement l'oeuvre de la roman-ciere canadienne et souligne le desequilibre fondamental de la plupart de ses personnages. Ceux-ci, a la recherche d'un ideal a leur mesure, errent dans un monde qui les ignore ou les ecrase. Ce meme theme permet egalement a Gabrielle Roy de peindre le desarroi social et metaphysique de 1'homme du vingtieme siecle. Par le voyage en soi ou, par son imagination debridee, le personnage de Gabrielle Roy tente desesperement d'accomplir une sorte d'eternel retour vers le paradis de l'enfance. Par le biais de ce theme, l'auteur souligne egalement la tendance innee qu'a 1'homme de vouloir fonder sa liberte. L'autre theme qui contribue a donner son unite a l'oeuvre de la romanciere canadienne-francaise est celui de l'arbre. Depuis l'antiquite, celui-ci s'est vu chaiger de symbolisme. Chez Gabrielle Roy, il est, tour a tour, frere de 1'homme dans le malheur et le desir d'evasion, aspiration a l'absolu, support de la creation artistique et meditation sur l'art. Par 1'usage qu'elle fait de ces deux themes, Gabrielle Roy prouve que le roman ne saurait se passer d'un certain halo poetique; celui-ci exprime souvent, mieux que les mots, les etats d'ame d'un personnage ou la Weltanschauung de l'auteur. Si Gabrielle Roy ne parvient pas toujours a camper des personnages inoubliables par leur psychologie, du moins son oeuvre a-t-elle d'incontestables resonnances poetiques et humaines. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

Most critics have taken a traditional approach toward typological images in John Milton's poetry, but my study departs from previous criticism. I have noticed that there are actually three different systems of typology working simultaneously. Milton's typology is not the literal Medieval use but the "spirit of typological interpretation." First, we find the conventional definition of Biblical typology. The second and third systems depart from tradition to "things unattempted yet in Prose or Rhyme": bold experiments in typology. We find what I call Milton's invented Biblical typology, and a third and most interesting use for typology in the poems--what I call Milton's invented extra-Biblical typology. Milton invents types for actions in the New Testament that have no Old Testament connection, and he invents extra-Biblical types based upon typical patterns in the Bible. In this way, Paradise Lost functions as an "Old Testament" concealed: Paradise Regained functions as a "New Testament" where the Old is revealed. Furthermore, Milton's bold experiments in typology are entirely compatible with his perception of himself as Prophet. For this reason, these invented types are not mere parallels: the bare bones of his types are based upon Scriptural information; but as part of his prophetic vocation, Milton adds flesh to those bones to create a living poem with a message that implements and elaborates upon Scripture. / M.A.

This is a biography of Confederate Major General Jeremy Francis Gilmer. The primary emphasis of the paper is on Gilmer's career during the Civil War and his contributions to the Confederate Bureau of Engineers. Jeremy Francis Gilmer was a native of North Carolina. In 1835 he was appointed to West Point from where he graduated in 1839, ranked fourth in his class. He was subsequently appointed to the U.S. Army Corps of Engineers. When the Civil War began, Gilmer and his family were stationed in San Francisco. He resigned his U.S. Army commission when North Carolina seceded from the Union. After he returned to the South, Gilmer was assigned to Albert Sidney Johnston's command in Kentucky. At the battle of Shiloh Gilmer was wounded and subsequently reassigned to Virginia. Following a brief assignment to the Army of Northern Virginia, Gilmer was named Chief of the Confederate Bureau of Engineers. The Corps grew in numbers and influence as a direct result of Gilmer's influence. At the end of the war Gilmer settled in Savannah with his family where he became President of the Savannah Gas Light Company. He held that position for the remainder of his life. In addition, Gilmer invested in real estate and railroads, amassing a substantial fortune. In 1883, Gilmer died peacefully in his Savannah home. / M.A.

何志華. / 書名原題: 第四版金文編附錄「文字」考辨. / 手稿本, 複本據手稿本影印. / Thesis (M.A.)--香港中文大學. / Shu ming yuan ti: di si ban jin wen bian fu lu "Wen zi" kao bian. / Shou gao ben, fu ben ju shou gao ben ying yin. / Includes bibliographical references (leaves 369-371.5). / He Zhihua. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章： --- 緒言 --- p.1-2 / Chapter 第二章： --- 圖形文字本質辨析 --- p.3-98 / Chapter 第三章： --- 金文編處理圖形文字方法的得失 --- p.99-135 / Chapter 第四章： --- 金文編附錄上下的區別準則 --- p.136-151 / Chapter 第五章： --- 圖形文字非族名用例考察 / Chapter 5.1： --- 尊稱 / Chapter 5.1.1： --- 子某 --- p.152-203 / Chapter 5.1.2： --- 婦某 --- p.204-233 / Chapter 5.1.3： --- 某母／某女 --- p.234-242 / Chapter 5.2： --- 職稱 / Chapter 5.2.1： --- 亞某 --- p.243-298 / Chapter 5.2.2： --- 冊某 --- p.299-323 / Chapter 5.2.3： --- 小臣某 --- p.324-335 / Chapter 5.2.4： --- 臣某 --- p.336-343 / Chapter 5.3： --- 地名用例 --- p.344-347 / Chapter 5.4： --- 器物名用例 --- p.348-351 / Chapter 第六章： --- 結論 --- p.352-371 / 附錄：圖形文字用例表 --- p.372-501

手稿本. / Thesis (M.A.)--香港中文大學. / Shou gao ben. / Thesis (M.A.)--Xianggang Zhong wen da xue. / 自序 --- p.1 / 金文編考证導論 --- p.3-66 / Chapter 壹 --- 金文編得失 / Chapter 一 --- 各器排列，不盡依據時代區分 / Chapter 二 --- 容氏編中每字下不列文句，使檢查者必須翻檢原文始能得其用法 / Chapter 三 --- 容者收字不全 / Chapter 四 --- 容者一器名下兼包數器而未加分別 / Chapter 五 --- 每字下器名與器目所引器名前後不一致 / Chapter 六 --- 容氏誤記器名 / Chapter 七 --- 容氏誤收器目銘文中所無之字 / Chapter 八 --- 容氏編中所注器名不見於器目，其所收之字。經查勘後有重補上出處，亦有仍不及其出處者 / Chapter 九 --- 容氏說解錯誤 / Chapter 十 --- 因字形、字義、合文而提行者、容氏未明白舉出之 / Chapter 弍 --- 金文編考证体例 / Chapter 一 --- 考证範圍 / Chapter 二 --- 每字下之重文編排abc / Chapter 三 --- 釋文可採詩家之说 / Chapter 四 --- 加注文句 / Chapter 1 --- 於同一器内、一字出现多次、而容氏只收其中一字、今皆注出其出现及次之各修文句 / Chapter 2 --- 於同一器内、一字出现多次、而容氏兼收各字或其中一二字、今亦注出其出Invalid number of Finder Pattern detected / Chapter 3 --- 於同一器内、一字出现多次、而容氏兼收其異器同銘之字、今於文句下增abc……以注於之、表示ABC……诸器之铭文相同 / Chapter 五 --- 注明盖器 / Chapter 六 --- 容郭異同 / Chapter 1 --- 釋字不同 / Chapter 2 --- 句讀不同 / Chapter 七 --- 未查到原銘文句者 / 金文編考证卷一 --- p.1 / 金文编考证卷二 --- p.28 / 金文編考证卷三 --- p.83 / 金文編考证卷四 --- p.149 / 金文編考证卷五 --- p.189 / 金文編考证卷六 --- p.248 / 金文編考证卷七 --- p.293 / 金文編考证卷八 --- p.358 / 金文編考证卷九 --- p.402 / 金文編考证卷十 --- p.437 / 金文編考证卷十一 --- p.469 / 金文編考证卷十二 --- p.493 / 金文編考证卷十三 --- p.553 / 金文編考证卷十四 --- p.584 / 采用彝器目录 --- p.646 / 检字 --- p.675