Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Thesis (doctoral)--Universität Heidelberg.

Thesis (Ph. D.)--Westfälische Wilhelms-Universität, 1980. / Includes bibliographical references (p. 649-739).

Thesis (Ph. D.)--Westfälische Wilhelms-Universität, 1980. / Includes bibliographical references (p. 649-739).

Now days, there are a lot of magnificent concrete buildings in the city, so do the library, the library in China always design as supremacy of authority, there is no funny and relax atmosphere, it's so hard to get alone with them. I wonder if there has a library can be a garden, I am trying to combine some Chinese classical garden element to my library design, create a comfortable environment for people who reading books, and pay more attention to the people's feelings. / Master of Architecture

This thesis is a study of a journey in the deep mystery of the eastern harbor on the Mediterranean sea in the city of Alexandria. For Herodotus, the four major elements for civilization's development overtime are water, air, land, and fire. In this project, the effort is made to connect three of the four elements within an architectural context: "Underwater museum". The building orientation, shape and location allow a discovery of the building elements and shape consequently while participating in the building visit. From street level, the building can be seen as a simple curved wall on the harbor facing the sea. While pursuing the passage in the journey, the building shape and components start to build the experience. Different lighting conditions, vertical and horizontal circulation methods, building form and structure are used to direct the journey starting from sky and land, through water, to underwater, then finally discovering the ruins at the seabed. / Master of Architecture

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<p>In the essay “William Kennedy’s Ironweed: Francis Phelan’s Purgatorial Journey Back Home” I intend to show that William Kennedy has borrowed his narrative structure and symbolic language in the novel Ironweed from The Divine Comedy. I will also try to show how William Kennedy has used these allusions to enhance the imagery of Ironweed and the protagonist Francis Phelan’s wandering through the novel, and his return home. To accomplish this I will present a detailed comparative analysis of William Kennedy’s Ironweed and Dante Alighieri’s The Divine Comedy.</p><p>I will begin by showing that Kennedy establishes the protagonist Francis Phelan as a Dante-like figure and a sinner who needs to go through purgatory to redeem himself. Moreover, Kennedy uses Dante Alighieri’s Divine Comedy’s landscape to enhance the imagery of a journey back home, and by showing that each chapter represents a different level on Mount Purgatory Kennedy makes Albany a symbol of the mountain itself. Details such as the mentioning of the seven deadly sins are also there to make the reader think of Dante and thereby reinforcing the image of The Divine Comedy’s landscape in Francis Phelan’s New York, Albany.</p><p>I also demonstrate that Kennedy borrows his symbolic structure from Dante Alighieri’s Divine Comedy. For example, the intricate ending of Ironweed where several parallels can be drawn to Purgatory and Paradise reinforces the impression of Francis Phelan’s happiness, that is, a reader who is familiar with The Divine Comedy will appreciate and understand Francis Phelan’s happiness and the journey he has accomplished even more.</p>

In the history of Catholic initiation, there have been moments of dissonance between what the institution expects to happen in the sacraments of baptism, confirmation, and Eucharist, and what actually occurs when they are practiced at the local level. Such dissonance often then leads to an evolution in the understanding and/or practice of these sacraments such as when Augustine‟s theology of imputed sin created an emphasis on infant baptism or when the drunkenness of early Christians at the Eucharist table led to shifting communion from an evening meal to a morning liturgy. In light of this historical pattern, this dissertation looks at a current form of dissonance and evolution in the specific context of the western suburbs of Minneapolis. Here, the dissonance relates to high rates of initiate attrition immediately following the ritual process despite institutional expectations that initiates be incorporated into the community as actively participating members. This dissonance is documented through two years of qualitative, interview-based research in multiple Catholic parishes as well as several Protestant churches on a comparative basis. Based on these reports, the dissonance, seen among Catholics and Protestants alike, seems to arise from the fact many initiates in this part of Minneapolis live as highly-empowered individuals who regularly negotiate a variety of disconnected social and relational networks – each of which vies for their attention. In this competition of social spheres, initiates commonly leave the church to participate in contexts that they perceive to “meet their needs” such as schoolwork, athletics, jobs, and other extra-curricular activities. As a result, the church appears to be in the early stages of an evolution in which initiation sacraments focus less on community incorporation and more on how they meet needs in an individual‟s faith journey.

Artist Statement My art is about seeking answers to personal conflicts while telling a story of a chaotic journey. I reflect on everyday moments and my thoughts as I discover ways to make sense of situations and life. I do this by creating textural, vibrantly colored, and gestural surfaces that emulate the powerful waters of the seas. I want to reveal an emotionally driven and process-oriented experience to the viewer. While creating, I do not maintain full control of the media and let the process become part of the work. I aggressively layer thick paint, glass, and mixed media. I spontaneously apply spirals and swirls of vibrant color that undulate and rotate like waves of an ocean. The spirals and swirls are a recurring motif in my work. These forms are ancient symbols of evolution, growth, and change and reflect the examination of my life. The colors and marks represent the turbulent and constant chaos of life.