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The hypothesis put forth in this dissertation is twofold. The first part is based on a view (supported by writers such as Hans Belting) that maintains that art lost its sacred character in the late Middle Ages, when art was emancipated from religion and the artist was recognized as an original Creator. The two first chapters examine this issue: The first chapter (A Religious View of the History of the Arts) discusses theories of religious art from the ancient Jewish drama and the Greek tragedy to the late Middle Ages. Psychological material, mostly drawn from Lacan and Jung, is used to explore the connection between art and religion in the East and the West. The second chapter {Anti-Leonardo) focuses on some important changes in the Renaissance which can be observed mostly in art, that have affected religious and social consciousness to date. The second part of the hypothesis is that contemporary philosophy and art, having witnessed the death of the author as it has been presented by writers such as Michel Foucault and Roland Barthes, are now registering the withdrawal of the work of art as an independent object, and the reversal of the Renaissance art paradigm. The withdrawal or "death" of the work of art and of art as a process are discussed in the third chapter {The Death of Art), which explores these issues in contemporary philosophy, and argues that contemporary art, popular and classical, is withdrawing as a distinct activity, giving its place to a growing religious awareness. The fourth chapter {The Religious Artist) examines the art and the views of some contemporary artists whose art expresses the return of the sacred. Particular emphasis is given to the art of the New Simplicity, an artistic trend that epitomizes the vanguard of art while expressing spiritual and religious contemporary concerns.

Anything Like Us is a collection of poems with a critical introduction. In this introduction, I explore modern alternatives to Romantic and Neo-Romantic lyric expression. I conclude that a contemporary lyric that desires to be, in some fashion, about itself, must exhibit an acceptance of the mediating influences of time and language, while cultivating an inter-subjective point-of-view that does not insist too much on the authority of a single, coherent voice. The poems in Anything Like Us reflect, in both form and content, many of the conclusions advanced in the introduction. Nearly all the poems concern the desire for, and failure to find, meaningful connections in an uncertain world .

Uppsatsen syftar till att undersöka och diskutera vad det finns för aktuella ideal gällande mångfald inom stadsplanering. Undersökningsområdet avgränsas till Uppsala och det som har undersökts är vilka aspekter som anses viktiga för att uppnå mångfald i staden och hur det arbetas för att uppnå mångfald inom de aspekterna. Angreppssättet har varit kvalitativa där intervjuer har förts med aktuella aktörer som arbetar med stadsplaneringen i Uppsala. Utifrån den undersökning som bedrivits har fem olika aspekter som anses viktiga för att upprätthålla en mångfald i staden identifierats och valts ut då det är de som nämnts mest frekvent. Dessa aspekter är människor, planeringsprocess, funktionsblandning, historia och täthet. Tillvägagångssätt för hur en mångfald nås inom respektive område i Uppsala kan sammanfattas med inkluderande och beblandning. Inkluderandet innebär att stadens invånare får delta i planeringsprocessen och blir inkluderade i staden genom att det skapas möjligheter för olika typer av människor att ha en bostad. En beblandning handlar om att olika funktioner i staden och bebyggelse från olika tider samsas på samma plats för att ge ett varierat stadsrum.

Richard Rodriguez's works create troubling situations for many scholars. Though numerous critics see him as the penultimate Chicano writer, many others see his writing as only pandering to the elite. However, all politics and controversies aside, he is a writer whose ideas upon language and public confession have been revolutionary. Throughout the thesis, I argue that Rodriguez's ideas upon language and identity are applicable to the social media landscape that we reside in currently, especially the public confession. Also, I use deconstructionism, along with postmodern criticism, to illustrate the changing arc of Rodriguez's confession from his first autobiography to his final one. In his first memoir, Rodriguez remains in the closet upon his sexuality, and the reader only catches glimpses of the 'real' character inside his work. In the second memoir, the reader sees a better glimpse because of his coming out; yet, even in this regard, he does not do so wholly and still leaves his confession unfinished. By the third, he applies themes and problems seen in his first and second works to discuss our browning nature, and how we are all sinners and that we desire to confess our sins. In my assessment of Rodriguez, I argue throughout all my chapters upon a measure of irreconcilability between the private world of the Hispanic immigrant family and the public sphere that they are forced to inhabit because of his citizenship and education. This irreconcilability creates a drastic limiting of identity for the author that Rodriguez is forced to navigate which creates his desire for confession.

by Fiona Chan Siu Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves [114-118]). / Chapter Chapter One --- "Fantasy, Postmodernism and Space" --- p.1 / Chapter Chapter Two --- Fantasy and Hyperspace --- p.27 / Chapter Chapter Three --- Fantasy and Cyberspace --- p.54 / Chapter Chapter Four --- The Constituting and the Constituted in the Postmodern --- p.81 / Works Cited --- p.114

Thesis (D. Min.)--Austin Presbyterian Theological Seminary, 2003. / Abstract. Includes bibliographical references (leaves 122-130).

The poetry of Eduardo Espina and Nestor Perlongher is one of the most transcendental of Hispanic neo-baroque, emerging in the eighties and persisting in the new millennium as one of the most influential literary tendencies in the latest Latin- American generations. This dissertation explores neo-baroque as defined by Omar Calabrese: aesthetics of repetition; aesthetic of monstrosity; the importance of imprecision; predominance of labyrinth within a preference for enigma, occult, or the weight of nonlinearly reading of artistic fragmented texts and eroticism as defined by Georges Bataille in the poetry of Espina and Nestor Perlongher. Both poets emphasize the problematic figure of the transvestite and the homosexual transgressive subject and propose a new perspective of linguistic artifice as an artistic and discursive technique and employ eroticism as a mask that unveils the conventionality of the categories, which govern the patriarchal, masculine-heterosexual Western civilization.

Thesis (Th.M.)--Dallas Theological Seminary, 2008. / Description based on print version record. Includes bibliographical references (leaves [56]-61).