Thesis (Ph.D.). / Written for the School of Architecture. Title from title page of PDF (viewed 2008/01/11). Includes bibliographical references.

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Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1996. / Includes abstract and vita. Includes bibliographical references (leaves 168-174).

No description available.

Thesis (D. Min.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 207-209).

Thesis (D. Min.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 207-209).

Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective. / This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France.

This thesis examines the notions of time and epoch through the works of three contemporary French authors: Christine Montalbetti, Hélène Lenoir and Emmanuelle Pireyre. The theoretical framework for this study draws upon literary criticism, time studies and cultural theory: it investigates in particular the ways in which literary fiction may respond to what has been called a ‘culture of speed' in capitalist economies of the twenty-first century. This culture of speed is traced back two major epochal shifts: the revolution in information technology, which has permitted the generating and sharing of information at exponentially higher speeds, and an increasing consciousness of the vast time cycles within which we might situate our own epoch or individual lives. This work considers the ways in which this collective and paradigmatic shift might be reflected in literary fiction. It examines the representation of new information technologies within these literary works, focusing in particular on the texts' representations of obsessive or compulsive uses of technology and the kinds of anxieties emerging as a result of the ubiquity of these devices. It further questions whether new aesthetic trends, what has been called a ‘post-internet aesthetic', may be emerging in literary fiction in light of some of these changes. Further investigation of the representation of diegetic time within these texts demonstrates that these literary works appear to resist the current time culture of speed and simultaneity, embracing instead the literary devices of repetition and digression while maintaining a dilatory pace. This study also considers the emergence of ‘short-termism' and insularity within these literary texts as reflecting a wider societal trend, especially in light of recent theoretical work on the vast timescales (for example those of the planet's climate cycles) that have become increasingly present in political and journalistic discourses.

The pamphleteers popularized the mythology of despotism by denouncing lettres de cachet and other supposed abuses of power that had little effect on most people. Historians like Funck-Brentano may be correct in arguing that the government was really moderate at this time, but it is important to show that radical propagandists were quite successful in convincing Frenchmen that thousands of innocent victims huddled miserably in <em >cachots for having inflamed the despotic passions of a minister. Moreover the prisons that were mythological for most Frenchmen had been terribly real for Brissot, Carra, Gorsas and many other writers, and this consideration also suggests the importance of the biographical approach. The Bastille may have been nearly empty, but it was a powerful symbol, effectively exploited by pamphleteers who dealt in symbols, declamation and distortions of political realities. They were highly successful in dominating public opinion, which exerted an influence on events that has been unappreciated in relation to the weak, irresolute rule of Louis XVI. The thesis attempts to develop this interprettion of the political importance of radical propaganda with reference to the scientific, financial and literary history of the period. It may seem weak on some ponts of these specialized fields, but it is hoped that it assimilates them successfully in its main attempt to contribute to an understanding of the last years of the Ancien Regime: its analysis of the character of radical propaganda in relation to the men who created it.