Thesis (M.A.)--Gordon-Conwell Theological Seminary, 1995. / Abstract and vita. Includes bibliographical references (leaves 108-112).

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Few liturgical historians are aware that a book of collects for the Divine Offices formed part of the service-books owned by a monk or priest during the late eighth to the end of the twelfth century. Conciliar decrees and liturgical rules remain silent about its function and development. On account of the paucity of information from the non-liturgical evidence, one can only formulate an idea about the collectar from the surviving manuscripts. The Durham Cathedral Library, Ms.A.IV.19, misnamed the 'Durham Ritual', is the earliest collectar to have survived in England. It has been tentatively dated to the early tenth century, written in the south of England from an unknown exemplar. At least five continental collectars pre-date the Durham Collectar. This number increases substantially in the eleventh century, when the Leofric Collectar and Wulfstan Portiforium, the better-known English collectars, were written. By the twelfth century, the collectar is still used; but its association is so intertwined with other office material that it is but a small step away from the breviary. In an effort to place the Durham Collectar within the development of collectars, the surviving manuscripts prior to the twelfth century have been examined. No standard collectar ever materialized. The 'pure collectar' of the eighth century extracted only the extraneous prayers from the mass-set of a single sacramentary. By the ninth century, some of the more important mass prayers were introduced, in particuliar, the collecta. Both Gelasian and Gregorian prayers were extracted, possibly reflecting the more complex structure of the sacramentary source. At the turn of the century, the capitula, or short chapter readings from the Bible, were also added. The Durham Collectar represents this primitive stage, before the prayers and chapters were divided into offices. The exemplar of the DC adhered closely to its sacramentary source. Textual analysis of the prayers, in particular those for All Saints and St. Martin, among others, indicate that this sacramentary lay very close to Tours and the compositions of Alcuin. These continental affiliations and its primitive organization place the DC at odds with the tenth- and eleventh-century English service-books. This may explain the treatment it received in England. It was sent northwards soon after it was hastily copied in southern England by a scribe who was not trained in a Winchester scriptorium. At Chester-le-Street, members of the Cuthbert community added other office material and educational texts. By c.970, it was glossed by Provost Aldred, the famous glossator of the Lindisfarne Gospels.

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Based on author's thesis (Ph.D.)--University of Toronto, 1979. / Includes bibliographical references and index.

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<p><italic>The Persistence of Smoke</italic> is a documentary opera. The libretto is based on interviews with various individuals related to the former Liggett and Myers Tobacco Company headquarters in Durham, North Carolina.</p><p>The cigarette industry once dominated Durham, but saw its decline in the 1990s as the link between cancer and smoking became increasingly clear. The American Tobacco Company and the Liggett and Myers Tobacco Company were once the biggest cigarette manufacturers in the city. As these companies left Durham, their factories and tobacco warehouses first sat vacant, but were gradually preserved and transformed into new spaces for offices, apartments and restaurants.</p><p>This project focused on the former Liggett and Myers headquarters along Main Street, a collection of buildings now known as "West Village". I interviewed current and former Durham residents who had a connection with these buildings, including local business representatives, community leaders, former Liggett employees, historians, current residents in the downtown area, municipal urban planners, journalists, and an architect. These interviews were given to local playwright John Justice, who created a libretto based on the themes that emerged.</p><p>The opera's story focuses on Kevin, an architect about to unveil his visionary master plan for redeveloping several defunct cigarette factories in an unnamed city. As Kevin leaves his newly renovated apartment for the press conference, he is confronted by his estranged father Curtis, a former cigarette worker who desperately wants to reconcile and reconnect, deliriously recalling the glory days of tobacco and the money that followed.</p> / Dissertation

This thesis investigates strategies for the portable classroom as a way of envisioning a new model for elementary schools in the region of Durham, Ontario. The portable and the school configuration is informed by a set of rules determined by site and program, making each school building unique and suited for its particular context. Geometry and play are at the core of how children learn, and the architecture will implicitly and explicitly engage this sense of play and learning. The pieces making up the modules have an aesthetic similar to Lego and K’nex toys, which immediately engages the childrens’ imagination and understanding, creating both a playful and engaging environment for learning. The strategy also brings together a variety of geometric pieces that form different classroom types and which can reconfigure for different rooms and uses. As such, the students may understand how the modules stack and stagger to create unique interstitial spaces for the public and for informal learning. These modules can be reconfigured using interior components that create a variety of smaller environments within the larger classrooms. As well as for expansion and contraction of school populations, these components could be recycled for use by other schools with growing populations. Thus, changing the role of the portable into a malleable, moveable aggregate, and making it easier and therefore economical to add, transform and subtract classrooms and learning spaces, school buildings come to life and change along with their setting.

L’Albanie est demeurée longtemps l’un des pays européens les plus méconnus. Ce pays qui depuis la fin du XVe siècle était resté pendant presque cinq cents ans sous la domination ottomane était un mystérieux avant-poste de l’Islam au cœur de l’Europe. Ce fut seulement au tout début des années 1800 qu’on commença à l’inclure parmi les destinations du « Grand Tour ». Cette recherche a visé à dégager les typologies de la représentation par lesquelles les écrivains et les artistes européens donnèrent les « images » par lesquelles l’Albanie fut conçue par les étrangers. Les sources abordées vont du début du XIXe siècle aux années 1940. À partir d’un corpus primaire comprenant les Souvenirs de la Haute-Albanie du consul français Alexandre Degrand, L’Albania de l’écrivain-journaliste italien Ugo Ojetti, et High Albania de l’Anglaise Mary Edith Durham, le champ d’observation s’est élargi à inclure un large éventail de textes allant des journaux de voyage aux œuvres fictionnelles aux articles de presse. Une attention particulière a été portée au côté proprement figuratif des œuvres littéraires, consistant en des gravures, des croquis et d’autres formes de la visualisation ; leur observation a constitué un outil complémentaire aux fins de l’identification du réseau historico-conceptuel où prit forme l’image de l’Albanie. Enfin, une étude à part entière a été consacrée à des ouvrages se déroulant dans de pays fictionnels inspirés de l’Albanie ; rédigés entre la fin du XIXe et nos jours, ils montrent une concentration de clichés et de stéréotypes, constituant ainsi un test réactif pour détecter certaines des sources de l’image de l’Albanie dans le courant dominant contemporain. / Albania has long been one of the less known European countries. This country which had remained for nearly five hundred years under Ottoman rule was a mysterious outpost of Islam in the heart of Europe. It was only in the early 1800s which it began to be considered worthwhile to include among the Grand Tour destinations. This research has been aimed at detecting and identifying representation patterns through which writers and European artists shaped the « images » by which Albania was conceived by foreigners. The sources range from early XIXth to the 1940s. Starting from a primary corpus consisting of Souvenirs de la Haute-Albanie by the French consul Alexandre Degrand, L’Albania by the Italian writer Ugo Ojetti, and High Albania by the English Mary Edith Durham, our observation field widened to include a broader survey of works ranging from travel diaries and fictional novels to newspaper articles. A prominent place belongs to the iconological corpus, namely to the engravings, sketches and other representational forms through which European literature illustrated Albanian subjects. Observing them has been a complementary tool for identifying the historical and conceptual framework in which the image of Albania took shape. Finally, a specific study has been devoted to works taking place in fictional countries inspired by Albania. Written from the late XIXth century to the present day, they show a rather high concentration of clichés and stereotypes scattered throughout European literature, thus acting as a reactive test to detect some of the sources of the current image of Albania. / Pur essendo nel cuore del Mediterraneo, l’Albania è stata a lungo uno dei Paesi europei meno conosciuti. Agli occhi del resto d’Europa, questo Paese rimasto per quasi 500 anni sotto la dominazione ottomana rappresentava un misterioso avamposto dell’Islam di fronte alle coste italiane; fu soltanto agli inizi del 1800 che cominciò a essere considerato una meta da inserire fra le tappe del Grand Tour.Questa ricerca ha mirato a identificare i modelli di rappresentazione attraverso cui viaggiatori, scrittori e artisti europei hanno visto l’Albania, le sue tradizioni e il suo popolo, dando così origine a quelle che sarebbero diventate le sue «immagini» nella percezione collettiva. Le fonti vanno dai primi del XIX secolo, quando il Paese entrò nel pantheon della letteratura internazionale grazie al "Childe Harold" di Lord Byron, al 1940.Il corpus originario, costituito dai "Souvenirs de la Haute-Albanie" del console francese Alexandre Degrand, da "L’Albania" dello scrittore-giornalista italiano Ugo Ojetti, e da "High Albania" dell’inglese Mary Edith Durham, cui è stata dedicata un’attenzione particolare per la sua complessa e innovativa opera etno-antropologica, si è ampliato fino a comprendere un campo d’indagine che va dai diari di viaggio ai resoconti diplomatici, dalla narrativa alla stampa periodica.Inoltre, nella convinzione che nella creazione dell’immagine dell’Altro un posto rilevante spetta alla rappresentazione visuale in se stessa, è stata dedicata particolare attenzione al campo figurativo, consistente in dipinti, schizzi e altre forme della visualizzazione attraverso cui l’arte e la letteratura europea hanno rappresentato temi e motivi albanesi. La loro osservazione ha fornito ulteriori strumenti di analisi del quadro storico e concettuale in cui ha preso forma l’immagine dell’Albania. Infine, uno studio specifico è stato dedicato a una tipologia di rappresentazione alquanto particolare, fatta di testi narrativi ambientati in paesi immaginari ispirati all’Albania. Scritti tra la fine del XIX secolo e i giorni nostri, essi offrono un’elevata concentrazione di cliché e stereotipi sparsi nella letteratura di viaggio, fornendo un repertorio utile a individuare alcune delle fonti dei più diffusi modelli di rappresentazione dell’Albania.

This thesis is a study of Durham University, from its inception in 1831 to the opening of the College of Physical Science in Newcastle in 1871. It considers the foundation and early years of the University in the light of local and national developments, including movements for reform in the church and higher education. The approach is holistic, with the thesis based on extensive use of archival sources, parliamentary reports, local and national newspapers, and other primary printed sources as well as a newly-created and entirely unique database of Durham students. The argument advanced in this thesis is that the desire of the Durham authorities was to establish a modern university that would be useful to northern interests, and that their clear failure to achieve this reflected the general issues of the developing higher education sector at least as much as it did internal mismanagement. This places Durham in a different position relative to the traditional understanding of how universities and colleges developed in England and therefore broadens and deepens the quality of that narrative. In the light of the University's swift decline, and poor reputation, from the mid-1850s what were the ambitions of the founders and how did this deterioration occur? Were the critics' accusations against the University - principally that it was a theologically-dominated, inadequate imitation of Oxford, bound to the Chapter of Durham and ruled autocratically by its Warden - based on fact or prejudice? And if the critics were wrong, what were the factors that lead to the University's failings?