Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

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The Disruption of the Church of Scotland in 1843 was arguably the most important event in Nineteenth Century Scottish religious history. The prime factor in the dispute which precipitated this crisis was the question as to whether the Church should rule itself through its own courts or be controlled by the secular government. This tension had existed in Scotland since shortly after the Reformation, but by the nineteenth century new factors had become involved. These included the political clash between democratic rights and the privilege of the ancien regime, the economic ability of Scots to maintain a church without state aid, the proper interpretation of Scots law, personal prejudice and bias especially on the part of Judges and politicians and, not least important, the transfer of civil government to the parliament in London with the consequent loss of contact with Scottish sensibilities. This study is concerned less with the detail of national events than with the reactions of local churchmen, both clerical and lay, to the events which occurred between 1830 and 1850. It focuses on three adjacent but dissimilar presbytery areas: the industrial area of Dundee where the leaders of public opinion were the entrepreneurial and professional members of the rising middle classes; the largely rural area of St. Andrews where public attitudes were formed by landowners and university professors; and the Cupar Presbytery area where agriculture and industry co-existed and where landowners and the middle classes shared responsibility for the general climate of opinion. This diversity of views is explored in the study as also are the reactions of various groups (e.g. , laity, clergy, students) to the judgements of the civil court concerning the Veto Act and to the campaigns for non-intrusion and spiritual Independence mounted by Church leaders. The contrasting responses of the three presbyteries to the allied issue of the Chapel Act are examined, while local preparations for the Disruption are explored in detail and set in the national context. The final sections of the study are devoted to a careful examination of the local aftermath of the Disruption: the manner in which the three Established presbyteries responded to their loss of ministers and elders and their attempts to recover their earlier social dominance; the ways in which the Free Church developed during the post Disruption years; the differences between the social and economic characteristics of those ministers and elders who adhered to the Established Church and those who joined the Free Church.

This thesis undertakes an excursion into the network of science, art, and popular culture at the end of the 19th century to examine the interrelations between these various strands in relation to the emerging cinema and its so-called spiritual dimension. Instead of an ontology of the image, or a cultural (metaphorical) analysis of spirits, phantoms or spectres as immaterial manifestations, this thesis proposes an ontology of the spectators' perception through which the spiritual dimension, frequently associated with audio-visual media, should be sought within the perceptual processes of the mind. It takes the cinema spectators' experience into the centre of this investigation and argues for their active participation in and understanding of the cinema as philosophical dispositive from the very beginnings of its inception. It looks into the interconnections between the various constituencies that shaped the projecting image technologies and their reception at the time. In particular the context of a broader intellectual framework and concerns about time, movement, memory and consciousness, reveal a thickness and complexity especially in the interrelations of the oeuvres of Jules-Etienne Marey and Aby Warburg. Henri Bergson's system of thought, germane to these concerns, will be elaborated in detail and used to build an onto logical/anthropological model of the cinema spectator in order to suggest how the contradictory forces of the rational and the 'irrational' can help us understand the spiritual dimension of the emerging cinema. The cinema dispositifm this approach appears as a paradigm to exemplify the productivity of this nexus and provides a platform for further research into issues such as consciousness, precognition, intuition and psychic phenomena. The spectator in this anthropological/ontological discussion treated in a conceptual way and grounded in a historical context appears in a fuller dimensionality that allows us to accommodate the so-called spiritual dimension beyond the dichotomy of the material and immaterial, the body and the mind. This model of the cinema spectator that this thesis proposes can be defined as an embodied, immanent and above all actively participant agent, which can be extended into a wider discussion of the perception, uses and interpretations of technology.

The thesis offers a reassessment of the works of the Russian architect Nikolai Alexandrovich L'vov (1751-1803). His designs are examined in the context of European architecture. Sources of inspiration for his advanced Neo-Classical style are found in monuments of Greek and Roman antiquity, Renaissance architecture and works of British, French and Italian architects, such as Charles Cameron, Adam Menelaws, Ennemond-Alexandre Petitot and Giacomo Quarenghi. The comparative analysis of L'vov's works with designs of his Russian and foreign contemporaries, for instance Matvei Kazakov, Adrean Zakliai'ov, John Soane, Claude-Nicolas Ledoux and others, highlights the innovative character of L'vov's designs. The investigation of the works produced by L'vov for Catherine the Great, Paul I and the powerful statesman Alexander Bezborodko demonstrates that the architect was entrusted to express political concepts, such as the 'Greek Project', Catherine's plan to liberate Constantinople from the Turks. It is argued that his public buildings and garden scenery of the park of Bezborodko in Moscow were designed as propaganda tools to influence people. The discussion focuses on the consideration of L'vov's interpretation of the ideas derived from European architecture. For example, L'vov was the first Russian architect to declare himself a follower of Palladio. The pioneering study of the Medieval architecture of Moscow produced by L'vov was parallel to the development of the preservationist attitude to national heritage in Britain. He produced ingenious engineering ideas, such as that of the double-shelled dome influenced by the examples of antique and French architecture and adapted to the requirements of Russian climate. He also introduced to Russia the modernised method of building from earth, derived from a French source and modified with the assistance of his Scottish associates. By analysing the relationships between the architecture of L'vov and that of Britain and other European countries, this study seeks to establish his reputation as one of the outstanding European architects of the late eighteenth century.

171, xi p. Two print copies of this title are available through the UO Libraries under the following call numbers: SCA OrColl F884.D3 H55 1934; SCA Archiv Theses H558

M.A. (Semitic Languages) / The history of Muslims in Pretoria began two decades after the arrival of the first Muslims to Natal from India and over two centuries after those in the Cape. Historians and researchers have undertaken the study of the Cape Muslims and pioneers of Natal. There is no book written on the Muslims in the Transvaal region. The two main centres in the Transvaal are Pretoria and Johannesburg. The village of Pretoria was founded in 1858, two and a half decades before Johannesburg. The first Muslims came to the vicinity in the 1880's, when it was still a small village consisting of 12 shops. The pioneer Muslims witnessed the growth and development of this village into a city. It is from the Pretoria region that the Muslims moved into the interior of Transvaal. The problems of the Muslims began in this city, and later spread to other town areas. This city was the centre of trade and business links to the other towns. As a Muslim citizen of Pretoria, it was considered best to undertake the study of the Muslims in this area. It was assumed that there would be no difficulty in obtaining basic source material on the historical aspect of the Muslims of Pretoria from the first arrival to the end of the Zuid-Afrikaansche Republiek (Z.A.R.) Government. At one stage the exercise of collecting data on this subject proved futile. However, it was after referring to a few books on the history of Indians in general, that it gave me some direction of the situation in the Z.A.R.

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Even a hasty perusal of Dr. W.E. Matters' Check List reveals the vast quantity of poetry published in Canada during the last half of the nineteenth century. This thesis is an attempt to explore and evaluate a crosscut of this poetry over a period of fifteen years, 1855-1880, and to establish the qualitative values in such a quantitative output. It is axiomatic that where there is movement there is life, and it is therefore reasonable to suppose that since the Confederation era was a particularly fluid period in Canadian growth, it called for a lively response. That there was such a response is evidenced in the various magazines and periodicals published during that time, with circulation wide enough to make it both convenient and profitable for any aspiring poets. And if there should be no especially aesthetic value to their poetry, at least they have recorded the aspirations and convictions of the average Canadian in the decade preceding and following Confederation. This aspect alone makes them worthy of consideration. Because of the quantity of material some selectivity was necessary. It seemed advisable to discuss only such poems as had some reference to Canada. The poems are, therefore, divided into three classes. After the Introductory Chapter which is devoted chiefly to an explanation and recreation of the Canadian scene at the time of Confederation, Chapter II deals with those poems Praising Canada's Beauty; Chapter III - those Praising Country as Country; Chapter Iv - those Miscellaneous-Mentioning Confederation. Chapter V is a brief evaluation only, since the poems are individually evaluated throughout. The study, confined as it is to a period between I855-I880, is obviously restricted, as it excludes many of the better, or better-known, poems particularly those of Charles; G.D. Roberts and Bliss Carman. N or was it deemed advisable to include the French Canadian poems of which there is a considerable number. The poems included have been analysed, more or less, and whatever may be their merit individually, they are, en masse, a significant contribution to Canadian Literature. Appendix I gives the musical setting for an adaptation of "My Own Canadian Home". Appendix II records in full "Our New Dominion". The Bibliography is chiefly a Check List, and includes a few works not recorded in Dr. W.E. Watters’ Check List. / Arts, Faculty of / English, Department of / Graduate

The great movement in Russian literature known as realism has been aptly described by one of its later adherents, Anton Pavlovich Chekhov, as "imaginative literature", which "depicts life as it really is", and that "its aim is truth-unconditional and honest". There truly could be no better standard than this for enlightened literature. For although life is never static, and modes in literature of various regimes have come and gone and will continue to do so, nevertheless, truth sought sincerely by all serious thinkers throughout the ages remains eternal. Unfortunately hierarchies, oligarchies and dictatorships of various kinds have been forced upon human beings since the beginning of known history. With these regimes have come the masterminds who endeavored to mold into their particular cast the minds subjected to them. In some instances they have succeeded, but there have always been those refugees of independent thought who, because they refused to bow down to the decrees of a tyrant, have either hid in catacombes or fled to other lands. Such people are the illuminators of the ages— God's shining stars. Theirs was the spirit of 19th Century Russian realism. Its portrayal of truth is one of the most glorious in all literature. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate