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The use of fantasy by the artists of the period 1250-1650 A.D. will be discussed under five categories. 1. Fantasy was used by artists in religious paintings, which served as a visual book to be viewed by the people. The artist used fantasy to show or illustrate events or miracles which could not be logically explained. 2. Fantasy was used by the artists to portray Greek and Roman mythological subjects and events. 3. Fantasy was used by the artists to present allegorical figures and ideas. 4. Fantasy was used to illustrated dreams or visions. 5. Finally, fantasy was used to create and present all kinds of fantastic creatures and monsters of the subconscious or dream world.

In this project notions of presence and absence will be explored through a study of 'the fold'. I will closely examine a number of paintings that depict folded drapery or cloth and from this examination I will select examples that evoke a response in me to these fundamental states of being, My objective is to produce a body of paintings that explore the structure of the fold and its expression through light, shadow and darkness to develop a range of images that metaphorically represent these phenomena and the possibility of a relational field between the two. This examination will re-present, reinterpret, fragment and transform the selected images using the materials of oil painting and drawing to visualize my response to the changing perceptions of this phenomenon. This investigation is informed by philosophical and psychoanalytical writings that explore the phenomenology of states of presence and absence. In part, these states are suggested by other terminologies, for example, form and space or volume and void. The project draws on the work of writers who have examined and changed perceptions of this phenomenon, particularly where they attribute the structure of absence to contribute to an understanding of subjectivity, question the favouring of presence in Western thought and explore the relationship between the two.

This thesis deals with the life and artwork of sculptor Čeněk Vosmík (1860 - 1944). Thesis contains an overview and evaluation of his artworks in the context of his time. Vosmík's artistic creation is followed from the beginning, which he spent studying in Vienna, through the period of the first successes and early artwork to the stage of his later artworks, when he devoted himself primarily to the religious art. Besides of the religious art thesis deals also with the allegorical, decorative and portrait work as well as restoration works. They are not neglected nor his unrealized proposals of works of art. Is especially emphasized Vosmík's early period of arts and his most important sculptures - The reprobate, The shepherd with bull and The Christ in the desert. Thesis also includes a comprehensive inventory of his art work. Keywords Čeněk Vosmík, sculpture, religious art, allegorical and decorative arts, portraits

<p>This paper examines Hannah Höchs photomontage <em>Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands</em>. The paper has as its aims to understand and analyze the predominated allegorical interpretation of <em>Schnitt</em> and to develop a logic how meaning is produced when a viewer look at <em>Schnitts</em> surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of <em>Schnitt</em> as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of <em>Schnitts</em> surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with <em>Schnitts</em> photographical fragments and connecting these with syntagmatic relations.</p>

This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

The religious significance of Emmet Fox (1886-1951), a pioneer in the New Thought movement, is the focus of this study. The relevance of Fox's religious thought will be determined in reference to and in the context of contemporary theorist Ken Wilber's theoretical framework of integral hermeneutics. On the basis of Fox's primary writings, biographical information, the ideas and philosophy of modern New Thought scholars and Wilber's literature, Fox's religious thought was interpreted and evaluated. Aspects of Fox's belief, such as creative mind, scientific prayer, meditation and healing, concepts such as God, Jesus Christ, death, reincarnation, karma and end times, as well as his method of biblical exegesis are discussed. It becomes apparent that Emmet Fox, preacher and teacher, had never intended to provide a scientific or academic structural doctrine in which to deliver his teaching. His non-conformist, simple, yet well thought-through beliefs, which include esoteric, eastern and universal truths, focused on the fundamental truths that are necessary for humanity's evolutionary development. This approach made Fox's teaching valuable to his audience of the time, a changing American consciousness, as well as appropriate to a transformational South Africa, where it is relevant in bridging the various cultures, languages, and religious beliefs within a continuously changing spiritually minded population, and most of all, beneficial to every person's inner spiritual journey towards ultimate enlightenment. Fox's underlying religious belief is that `the thought is the thing' and this endorses the whole of the New Thought teaching, which states that `whatever the mind can conceive and believe, it can achieve' or `be ye transformed by the renewing of your mind'. Probably the most remarkable feature of his religious thinking is his popular allegorical interpretation of the Bible, which he interprets spiritually. It is apparent that there is an affinity between the religious thought of Emmet Fox and that of Wilber. Although the intent of this study is not to compare these scholars, it is interesting and valuable to Fox's interpretation that they advocate a similar underlying belief in the holistic Kosmos and the importance of having an integral vision. / Religious Studies & Arabic / D. Litt. et Phil. (Religious Studies)

The religious significance of Emmet Fox (1886-1951), a pioneer in the New Thought movement, is the focus of this study. The relevance of Fox's religious thought will be determined in reference to and in the context of contemporary theorist Ken Wilber's theoretical framework of integral hermeneutics. On the basis of Fox's primary writings, biographical information, the ideas and philosophy of modern New Thought scholars and Wilber's literature, Fox's religious thought was interpreted and evaluated. Aspects of Fox's belief, such as creative mind, scientific prayer, meditation and healing, concepts such as God, Jesus Christ, death, reincarnation, karma and end times, as well as his method of biblical exegesis are discussed. It becomes apparent that Emmet Fox, preacher and teacher, had never intended to provide a scientific or academic structural doctrine in which to deliver his teaching. His non-conformist, simple, yet well thought-through beliefs, which include esoteric, eastern and universal truths, focused on the fundamental truths that are necessary for humanity's evolutionary development. This approach made Fox's teaching valuable to his audience of the time, a changing American consciousness, as well as appropriate to a transformational South Africa, where it is relevant in bridging the various cultures, languages, and religious beliefs within a continuously changing spiritually minded population, and most of all, beneficial to every person's inner spiritual journey towards ultimate enlightenment. Fox's underlying religious belief is that `the thought is the thing' and this endorses the whole of the New Thought teaching, which states that `whatever the mind can conceive and believe, it can achieve' or `be ye transformed by the renewing of your mind'. Probably the most remarkable feature of his religious thinking is his popular allegorical interpretation of the Bible, which he interprets spiritually. It is apparent that there is an affinity between the religious thought of Emmet Fox and that of Wilber. Although the intent of this study is not to compare these scholars, it is interesting and valuable to Fox's interpretation that they advocate a similar underlying belief in the holistic Kosmos and the importance of having an integral vision. / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

歇後語是一種很有趣的口語文體，它由兩個部分組成，語意重心在第二部分，展現豐富的語意和音韻的運作歷程。它並非固定而無法再分析的結構，使用者只能靠死記來使用它；反之，歇後語本質上為我們人類認知的一部份。它展現多層的隱喻、代喻和人類知識架構等語意上的運作（參看Lakoff 1993，Kovecses and Radden 1998，Fillmore 1977等人之論著）。本論文旨在從認知語意學的觀點，探究台閩語歇後語的本質，重心在探究其最終語意的衍生歷程。我們修正Geeraerts (1995)針對成語的分類架構和Ruiz de Mendoza’s (2003)分析成語所使用的隱喻和代喻互動類別，來分析閩南語歇後語，得到在四大類別下，有二十二種語意衍生的種類、十二種變化和十二種次變化。分析的結果顯示，所有的歇後語之語意皆可衍生，且三層的衍生為最普遍的基型。此外，代喻在台閩歇後語很普遍，所有的類型皆有牽涉到代喻。與隱喻相較，代喻在台閩語歇後語語意的衍生上所佔的角色比隱喻重。 / Two-part allegorical sayings Xie-hou-yu, colloquial expressions whose second parts bear the main semantic weight, exhibit rich semantic and phonological operations. They are not unanalyzed fixed structures memorized by the users; instead, two-part allegorical sayings are conceptual in nature, exhibiting multiple semantic operations among metaphor, metonymy, and knowledge frame (cf. Lakoff 1993, Kovecses and Radden 1998, Fillmore 1977, among others). This study aims to explore the nature of two-part allegorical sayings in Taiwanese Southern Min from cognitive semantics point of view, focusing on the derivations of the intended meaning. We modify Geeraerts' classification model (1995) and Ruiz de Mendoza’s (2003) model of interaction types in analyzing idioms to account for the data and find twenty-two types of derivation under four major categories with twelve variations and twelve subvariations. The result shows that all two-part allegorical sayings are motivated with three stages of derivation as the common schema. Furthermore, metonymy is very pervasive in two-part allegorical sayings in Taiwanese Southern Min where all of the four types involve metonymy. Comparing with metaphor, metonymy plays a much more important role in the meaning derivation of the two-part allegorical sayings.

Dans cette thèse nous voudrions mener une étude approfondie sur le Songe du Vieil Pelerin (1389) de Philippe de Mézières concernant la structure complexe de ce voyage allégorique-didactique, ses facteurs de cohérence et cohésion qui font son principe d’unité, l’utilisation de certaines sources ainsi que sa réception auprès du public. Notre but est de mieux éclairer le procès de construction de ce texte, la posture de l’auteur et la place du Songe dans le contexte littéraire de la fin du XIVème siècle. Notre étude commence par une analyse détaillée du prologue. C’est là que Philippe de Mézières fournit les clés de lecture de son œuvre et qu’il met en place la réflexion sur le problème de la vérité: vérité spirituelle, morale ou encore verbale, et donc liée à un modèle rhétorique précis, enfin vérité de l’œuvre, de contenus qui y sont véhiculés et authenticité de l’écriture. Ce problème constitue un fil rouge qui traverse tout l’itinéraire accompli par le pèlerin, dans le récit, ainsi que les parenthèses didactiques ou digressives qui le parsèment, comme nous essayons de montrer dans la partie centrale de notre étude.Enfin, nous choisissons deux canaux langagiers bien définis et privilégiés dans le tissu discursif et narratif du Songe, la polémique et la pénitence, pour analyser plus en détail comment le modèle rhétorique proposé par l’auteur peut être le premier pas vers la voie d’un renouvellement social et spirituel. / This research presents a thorough study on the Songe du Vieil Pelerin focused on four aspects: the complex structure of the allegorical-didactic journey described by Philippe de Mezieres; the internal coherence and cohesion that contribute to the unity of the text; the use of sources and the critical reception by Mezieres' contemporaries. From a general standpoint, the main goal of this research is to clarify the inner workings of Mezieres' creative endeavour, in order to better understand the place of the Songe in the literary context of the late fourteenth century. The research begins with a detailed analysis of the prologue, where Mezieres provides the keys to understand his work and organizes its reasoning on the problem of truth, distinguishing between a spiritual, moral, and verbal truth. This analysis marks the way of the pilgrim – the Songe main character – throughout Mezieres' work, both in the story and in the frequent didactical digressions. When the pilgrim's path ends, the rethorical model that underlies the entire work is explained with the help of the concepts of polémique and pénitence, to show how Mezieres conceives his work as a first step in the way of a social and spiritual renewal.