This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology. / Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle. / This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.

This study has presented a thorough investigation of the integrity and the significance of the Augusta National Golf Club Course from 1934 to the present. The golf course still reflects the design philosophy of Alistair Mackenzie. Design features that have been retained provide this evidence. The hillocks and hollows in the golf course were identified to show Mackenzie's influence in the golf course of today. Changes have been made to Mackenzie's original design. Some changes caused great strategic and aesthetic differences in the golf course. Other changes were necessary due to the spectator and the demands of providing optimum on-site viewing of the Masters Tournament held anually at the Augusta National Golf Club Course. The modifications to the course were responses to the evolving game of golf as played in 1934 as compared to 1996. The significance of the golf course with respect to its Master Designer, Alistair Mackenzie, was shown to be sufficient to warrant the augmentation of its National Register status. Treatment of the landscape is suggested based on the criteria set forth in the study. / Department of Landscape Architecture

This study centers on a 1907 collection of art songs for voice and piano composed by Alexander Zemlinsky. Although his small cycle of five songs was not published during the composer's lifetime and has not been given the scholarly attention that other pieces in his oeuvre have, it is well crafted and carries a high degree of expressive and emotional weight. The cycle sets the poetry of Richard Dehmel; a contemporary of Zemlinsky and the inspiration behind works of Arnold Schoenberg, Anton Webern and Richard Strauss as well. In these 1905 settings Zemlinsky experiments with an extremely chromatic language while exploring themes of love and betrayal in the poetry of Dehmel. This study examines this chromatic style and how it relates to the themes in the text. Through the detailed analysis of each of the songs the reader will see how, in spite of the free succession of harmonies that often obscure the tonal orientation, a central underlying tonic/dominant relationship is at the core of each song except the first. In this manner the songs display a subtle yet powerful exploitation of tonal ambiguity that brings out many of the nuances of Dehmel's poems. / School of Music

Alexander Runciman was in his mid-thirties before he adopted the monumental style of history painting on which his reputation has always been held to rest. What may be called the formative part of his career was therefore unusually extended. This thesis is a study of his development during this time, its background, and the sources from which derived his ideas on painting. This part of his life culminated in the monumental paintings that he did for Sir James Clerk of Penicuik in 1772 and the related work in the Cowgate Chapel, Edinburgh. These were the most important of all his works and were unique in eighteenth century painting. In them he combined the grand style that he had learned during the four years that he spent in Rome, with the native Scottish tradition of decorative painting in which he had been trained. The thesis therefore falls into three parts. The first (Chaps.1-7) deals with his life and background in Edinburgh; the second (Chaps.8-15) with his four years in Rome; and the third (Chaps.16-18) with the works that he carried out on his return to Edinburgh. In the first part attention is given in Chapters 1 to 3 to the men of the older generation from whom he may have learnt not only his style, but also his ambitions as a painter. Chapters 4 and 5 deal with the circles in which he moved among his own contemporaries, and the last two chapters in this part with his own and his younger brother. John's work in Edinburgh before they left for Rome in 1767. In the second part the first three chapters(S-10) cover the brothers' stay in Rome up to John's death late in 1768, or early in 1769. Following this event Alexander became determined to succeed, not merely as a landscape and decorative painter, but in monumental history painting. Chapter 11 is a discussion of the work of Gavin Hamilton and of James Barry, the two painters who influenced him most at this time. This discussion is extended in Appendix D which deals more fully with the work of Gavin Hamilton. Chapters 12-14 are an account of Runciman's first works in the new manner, with particular attention to his proposals for the decoration of Penicuik House. Chapter 15 deals with his relationship to Henry Fuseli at the end of his Roman stay. The last three chapters give an account of the circumstances in which he finally carried out his work at Penicuik, and of the pictures themselves. As they were destroyed by fire in 1899 Chapter 18 and part of Chapter 19 are devoted to a reconstruction of their appearance. The thesis concludes with a discussion of his work in the Cowgate Chapel. The part of this which survives is all that is left of his monumental work.

This thesis examines Alexander�s conception of kingship, his relationship with royal traditions in the three great kingdoms of the Near East, and the concomitant transformation of the king�s court by which Alexander created a distinctive royal insignia and introduced new court personnel and protocol. Section I ("Alexander and Near Eastern Kingship") contains Chapters I, II, and III. Section II ("The Transformation") comprises Chapters IV to VI. In Chapter I, I examine the Macedonian background of Alexander�s court and his native conception of kingship. Chapter II is a study of the kingship of Egypt. Chapter III deals with the kingship of Babylon and Persia. I then turn to an analysis of Alexander�s policies towards the Persians and the concept of the "kingship of Asia," as this was understood by Alexander. This crucial concept is to be distinguished from the kingship of Persia, a position which Alexander supplanted and replaced with his personal kingship of Asia. In Section II, three chapters are devoted to an analysis of the transformation of Alexander�s court. Chapter IV covers the origin and significance of Alexander�s royal insignia. Chapter V examines the introduction of, and the role played by, Persians and easterners in the king�s court; and Chapter VI the significance of other Persian court offices.

Thesis (M.A.)--Cincinnati Christian University, 2007. / Includes abstract and vita. Includes bibliographical references (leaves 103-106).

Zugl.: Basel, Univ., Diss., 2003

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes project proposal. Includes bibliographical references (leaves 221-224).

Thesis (M.A.)--Cincinnati Christian University, 2007. / Includes abstract and vita. Description based on Print version record. Bibliography: leaves 103-106.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 332-354).