Art history is riddled with existential questions hiding just beneath the surface of the subject matter, that is, the physical objects being created. This is true for the centuries-old, as well as the contemporary, and picking apart the materiality of works of art can reveal the value of using art as a medium to understand and work through the concept of death in relation to our own human existence. This paper constitutes a thorough, material analysis of three works of art created (or finished) in the last 20 years, specifically focused on the topic of death. The works examined are Roman Opalka’s conceptual lifetime project 1 to Infinity, Morgan Quaintance’s video artwork Efforts of Nature and El Anatsui’s site-specific sculpture Fresh and Fading Memories in Venice, Italy. As well as materiality, contextual aspects of the works are considered for this analysis, this to help make concrete and coherent the narratives and stories that make up the works themselves. These narratives are what this paper is aiming to decipher.

This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.

by Carrie Yuk-ching Kwan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1990. / Bibliography: leaves 137-149. / Acknowledgement / Chapter / Chapter I. --- Introduction --- p.1 / Chapter II. --- The Mother Archetype --- p.9 / Chapter III. --- "An Archetypal Analysis of ""Death in Chicago""" --- p.28 / Chapter IV. --- "An Archetypal Analysis of A Passage to India ´ؤ with a Brief Comparison with ""Death in Chicago""" --- p.73 / Chapter V. --- Conclusion --- p.117 / Notes --- p.126 / Bibliography --- p.137

It is undeniable that literature reflects much about the society that produces it. The give-and-take relationship between a society and its literature is especially interesting when medieval texts are considered. Because most medieval plots and characters are variants of existing stories, the ways that the portrayals change has the potential to reveal much about the differences between medieval societies separated by distance and time. Changes to the treatment of these recurring characters and their stories can reveal how the attitudes of medieval society changed over time. Perceptions of magic and attitudes toward its female practitioners, both real and fictional, changed drastically throughout the Middle Ages among clergy members and the ruling class. Historically, as attitudes toward women became more negative, they were increasingly prohibited from receiving a formal education and from gaining or maintaining positions traditionally associated with feminine magical power, such as healer, midwife, or wise woman. As the power of the Church grew and attitudes changed throughout the Middle Ages, women’s power in almost all areas of life experienced a proportional decrease. Using a combination of historical and literary sources, this paper will explore whether this decrease in power is evident in literary portrayals of magical female characters in medieval literature. Specifically, it will examine the agency and potency, or the intrinsic motivation and effectiveness within the story, respectively, of female characters within medieval narratives, comparing the characters to their earlier iterations. This research will offer a unique perspective on the roles of magical women in medieval literature.

Robert Morgan's Nonfiction Books

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Thèse remaniée de: Dissertation--Universität München, 2005. / Psautier écrit et enluminé à Arras au milieu du 13e siècle, oeuvre originale de Ghuiluys de Boisleux et de son mari Jean de Neuville-Vitasse à la demande de Catherine de Courtenay, femme de Charles de Valois. Bibliogr. vol. 2, p. 185-268.

The objective of this study was to investigate K, Ca, and Mg immobilization in the stem of species typical of the hardwood forest of southern Quebec. The species examined included American basswood, sugar maple, and white ash from a rich site, and American beech, red oak, and red maple from a poor site. Firstly, rates of immobilization were evaluated over a time span of 40 years. Higher rates of immobilization in the wood only were generally observed on the rich site. Sugar maple immobilized Ca at an elevated rate during 1978--1997, in comparison to the other species on site. In the case of Ca for white ash, and Ca and Mg for red oak, a low wood element concentration and a high rate of growth was associated with a low rate of immobilization. Mean annual immobilization rates on a whole stem basis were also determined for the life of the tree. These results suggest that American basswood and red oak immobilize significant amounts of Mg and Ca in their bark, respectively. / In a second study, concentrations of K, Ca, and Mg across the radial section of the stem (heartwood, transitional, sapwood, and bark) were determined. In a majority of cases, the bark was highest in concentration of base cations. Whereas, for the woody portion of the stem, concentrations were generally highest in the heartwood.

Lawrence's revision of the fiction of his English comtemporary E. M. Forster is a key to the way in which Lawrence's imagination worked. He discovered in early 1915 that Forster was already producing a body of fiction which treated many of his own themes in a manner which resembled the visionary and prophetic mode he wished to create. This study demonstrates that Lawrence's motivation and method in the writing of many scenes in The Rainbow, Women in Love, The Lost Girl, Aaron's Rod, and St. Mawr are governed by his compulsive misreading of scenes, symbols, characters, settings, plots and motifs in Forster's fiction. It is evident that Lawrence needed to establish dominance over Forster in this manner in order to keep alive what he called his "passional inspiration."

Thesis (Ph. D.)--Columbia University, 1993. / Department: Art History. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 205-210).