Thesis (M.A.)--Catholic Theological Union at Chicago, 2000. / Vita. Includes bibliographical references (leaves 137-142).

Thesis (M. Phil.)--University of Hong Kong, 1988.

Controversies invoking the concept of canonicity tend not merely to jump the gun - they assume that there is actually something to debate or discuss, that there are canons or canonical objects which can be deconstructed or preserved, analysed or appreciated. This thesis offers an approach to canonicity which rejects this assumption, but without abandoning the concept. It reconceives the basis of canonicity, through an analysis of the idea of incommensurability and of the hermeneutic or interpretive ideal of openness, by locating the concept and its applications within a semantics of interpretation and recovery which dismisses the very idea of shared structures of canonical meaning. In this way the approach follows Donald Davidson's well-known efforts to avoid a reification of linguistic meaning. The reconception of canonicity offered, however, owes perhaps more to the hermeneutic theories of Hans-Georg Gadamer and to Friedrich Nietzsche's conception of self-transformation. Drawing on all three philosophers it makes canonicity a function of the application of openness within certain kinds of incommensurable discourses, ones which are shaped by and reshape a subject's historical ground; in addition it suggests a resolution to a problem of openness and incommensurability which fundamentally reconceives both concepts.

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In the pessimistic world of Hans Henny Jahnn it is refreshing to find one subject which the author illuminates with hope. Youth is a theme which Jahnn portrays again and again, sensitively depicting its joys and turmoil even in his later works, when his own youth lay far behind him. The youth Jahnn glorifies is not childhood in general, but rather that time in a child's life when he stands on the threshold to manhood. [...]

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Abstract The purpose of this essay is to analyse and interpret artist Hans Hedberg’s monumental, ceramic reliefs in Sweden and France. Hedberg is internationally famous for his ceramic fruits and eggs in different glaces and formats. A mostly unknown side of his artistic production is that he produced about 50 ceramic reliefs during the 1950s and up to the 1970s in public buildings. Hedberg was one of very few foreign artists in France, who, during a long period of time, produced monumental, public reliefs for the French state. The essay analyses the European Postwar Period in France and Hedberg’s reliefs from his early figurative works to his abstract reliefs. It also links Hedberg to Nouveau Réalisme and the Renaissance in Italy.

Thesis (J.C.L.)--Catholic University of America, 1988. / Bibliographies: leaves 68-71.

Thèse (Ph. D.)--Université Laval, 2007. / Bibliogr.: f. 270-283. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Zugl.: Berlin, Humboldt-Univ., Diss., 2005