Mémoire (M.A.)--Université du Québec à Trois-Rivières, 2008. / Comprend des réf. bibliogr. (f.176-184).

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thesis (M.A.)--Carleton University, 1991. / Also available in electronic format on the Internet.

Thesis (Ph.D.). / Written for the Faculty of Religious Studies. Title from title page of PDF (viewed 2008/08/05). Includes bibliographical references.

This thesis discusses the stylistic development of Lionel LeMoine FitzGerald (1890-1956) as seen in his dated oil paintings. Chapter I outlines FitzGerald's formative years (1890-1919). It attempts to explain how his love of the prairies and interest in art developed. It suggests the dominant influences in his study of art. It includes a stylistic discussion of FitzGerald's earliest works, including his well known, Late Fall, Manitoba (1918). Chapter II attempts to explain why FitzGerald suddenly lightened and brightened his palette. It explores the sources which may have influenced the development of FitzGerald's impressionistic style (1920-October 1921) and it provides a stylistic analysis of two of his impressionistic works, Summer East Kildonan (1920) and Summer Afternoon, The Prairie (1921). Chapter llldiscusses the importance of FitzGerald's first trip to New York, his study at the Art Students' League (December 1921 - May 1922) and his study of the works of European masters at the Metropolitan Museum. It explores the influence his two art instructors, Boardman Robinson and Kenneth Miller may have had on his work. It also suggests the importance of the works of Cezanne to FitzGerald's development. Chapter IV discusses the new directions FitzGerald pursued upon his return from New York. It reveals that FitzGerald's new style of painting, as seen in Potato Patch, Snowflake (1925) was fairly dependent on the external influences he had seen while in New York. This chapter also discusses the importance of FitzGerald's appointment as instructor for the Winnipeg School of Art, to his development of a new more studied style, as seen in Williamson's Garage (1927). Chapter V explores the influences of his second trip to the East (June 1 -July 1, 1930) on his artistic development, through revealing statements drawn from FitzGerald's Diary. Chapter VI reveals FitzGerald's striving towards more personal expressions during the thirties and forties, as seen in three major works from this period, Doc Snider's House (1931), Jar (1938), and Still Life: Two Apples (1940). Chapter VII discusses FitzGerald's gradual move towards abstraction. Suggestions of this direction, are already noted in From an Upstairs Window, Winter (1948). It includes a stylistic analysis of two abstract works, Composition No. 1 (c. 1950-51) and Abstract: Green and Gold (1954). The last major oil, Hat (1955), is discussed in terms of a final statement made by the artist. An attempt is made to determine the essential characteristics of FitzGerald's paintings, which enable them to transcend their regional boundaries and speak to all of Canada. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Proefschrift : Rechtsgeleerdheid : Nijmegen : 1979. Paru aussi en éd. commerciale--Zwolle--W.E.J. Tjeenk Willink, 1979, ISBN 90-271-1604-0. / Bibliogr. des œuvres de H.L.A. Hart p. 231-235. Bibliogr. p. 236-242. Résumés en allemand, anglais, français. Index.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Boundary and desire surround the relationships in Mary Shelley's Frankenstein and The Last Man. The narrative modes of Captain Robert Walton relate his separation to the rest of the world and his need for companionship. Yet, not any companionship will satisfy his longing for connection with a human being; his search revolves around the need of common understanding. This further separates the character of Lionel in The Last Man from humanity in that he is unable to find anyone left on earth after a series of plague, war, and atmospheric anomalies apparently wipe out the human race. His survival hinges on the desire to find someone, anyone, in which to share any mode of common experience. His struggles with loneliness finally culminate in his autobiography. Both Frankenstein and The Last Man deal with the issue of narrative and the bounds of human necessity for acceptance and companionship. Though both tales are from a male perspective, the gendered aspects of the stories further separate the characters in each novel. How each character is estranged by forces outside their control, and how they express this relationship between their internal selves and their outer selves, are at the core of each text. Through these ideas of boundary and belonging, this thesis will explore the relationships in Frankenstein and The Last Man.

This study proposes a detailed historic account of the life and career of Lionel Bowman as a concert pianist and teacher. The role and relevance of criticism in music have also been included and documented with specific reference to Bowman’s playing. In order to do this, a survey of the available relevant literature such as Bowman’s journal and notebook, published articles, newspaper articles and reviews on the subject were comprehensively examined. Available recorded materials such as compact discs with Bowman’s live performances have been incorporated in the study. Apart from a detailed biographical account of Bowman’s life and career, as an orientation to the historic account, attention is given to how Bowman’s teaching style initiated and its development into a unique and personal method which resulted in the publication of The Magic Touch: For pianists and teachers. A workable practical guide to piano playing by Wallace Tate (2000). The success of this method supported by commentary from several pianists, who experienced Bowman’s method first hand, has been incorporated in the study. Light is also shed on Bowman’s human side including the past and present situation of the arts in South Africa in order for artists in general to learn from it and facilitate new growth and vision of the future of the Arts and Cultural field. Bowman’s final legacy and information about his death, including commentaries from people who knew him as a pianist, teacher and friend has also been documented. The study ends with a concluding chapter summarising the whole study and sheds light on future possible studies on related topics. Copyright / Dissertation (MMus)--University of Pretoria, 2009. / Music / unrestricted

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.