This research is a comparative study of Archaos ou le Jardin étincelant, a utopia written by Christiane Rochefort in 1972, and the triptych The Garden of Delights, by Yeronimus Bosch. The arts critics do not agree on the interpretation of The Garden of Delights, but most see it as a linear story, leading to the human fall. The central panel in this interpretation is viewed as the representation of all possible carnal sins. The Garden of Delights by Bosch is reinterpreted by Rochefort as a utopian work of art instead of a step toward damnation. Bosch, who is well known for his pictorial wit, represented visual plays on words. Rochefort's plays on words and her dialogic use of language are the object of chapter two and three. Her neologisms, and particularly the invention of new names emerge as symptoms of a subversive utopia. Through a comparison of Archaos with canonized utopias (L'Abbaye de Theleme by Rabelais, Gulliver's Travels by Swift) and with new forms of utopias (Le Livre de la cité des dames by Christine de Pisan, Le Nouveau Monde amoureux, by Fourier, Herland by Charlotte Perkins Gilman, utopias by Ursula Le Guin, Joanna Russ and Marge Piercy), I try to define what is common to the feminist utopias of the 1970's and set them aside from the canonic definition of utopia. The idea of freedom depicted by Fourier in his Harmony was precursory of the directions taken by utopia in the works of feminist writers of the 1970's. Fourier was probably the most feminist of the male utopianists. Rochefort presents us with a society where men act more like women, where they create a more anarchic world. Some critics have said that utopia was dead when in fact its interpretation was moving away from a static definition.

This is a comparative study of the utopian societies depicted in Plato's Republic, Charlotte Perkins Gilman's Herland, and B.F.Skinner's Walden Two. Two different interpretive perspectives--analytical and artisitic--are employed in a complementary manner to effect the study. The analytical study investigates and compares each test within the following frameworks: political foundations; education of children; roles of women; family structures. The major conclusions are that all three utopian constructs are characterized by (a) complementary educational methods for the young, (b) gender equality, (c) a high degree of role specialization based on individual's intrinsic aptitudes, (d) a lack of political conflict, (e) the achievement of social unification through pursuit of common goals, and (f) complementary social structures for communal living. The artistic interpretation is embodied in three paintings, each depicting one of the utopian societies. These visually illustrate the above frameworks as applied to each utopia. To illustrate the conclusions of the analytical investigation the three paintings, when placed side by side, become a unified whole further illustrating the above noted commonalities among the three utopias. / 149 leaves : col. ill. ; 28 cm.

青綠山水在中國繪畫史上歷史悠久，可追溯到魏晉時期（220-420），甚至更早，可謂中國山水畫科之始。然而，在經歷隋唐（581-907）的成熟和兩宋（960-1279）的高峰後，隨著水墨繪畫的興起，文人趣味的改變，加上材料技術的失傳，青綠山水在元代開始衰落。儘管這樣，還是有人致力於青綠創作，理想世界成為作品中時常表達的憧憬。 / 本文包含四個部分：「緒論」闡述青綠山水的定義，並回顧傳統青綠山水的沿革。第一章梳理傳統青綠山水對理想世界的描繪，把它分成「隱逸」、「桃源」和「仙境」三類，從技法和主題來分析作品背後的意涵。第二章先以近代畫壇大師為例，指出他們對青綠山水創作的重視既在於表達理想世界，更在於對傳統技法的保存和延續。而現當代的青綠創作雖形式繁雜，但至少有五種面貌。第三章則闡述個人如何參考傳統技法和風格為創作元素，展現對傳統和當下的思考。文章期能對青綠山水這一古老畫科與理想世界的關係作一探討，並為當代青綠山水的創作再添註釋。 / Regarded as the origin of the genre of landscape painting, blue-and-green landscape painting has a long history in China, dating from the Wei and Jin periods (220-420) and even earlier. It was developed in the Sui and Tang dynasties (581-907) and was at its glorious status in the Song dynasty (960-1279). However, a change in the taste of the literati class and the loss of the related techniques and materials gave rise to monochrome ink painting, and as a result, the blue-and-green tradition declined in the Yuan dynasty (1271-1368). Despite the prevailing trend of Chinese landscape painting, there are still people who devote themselves to the blue-and-green style and use it to depict an ideal world. / This thesis consists of four sections. In the Introduction, I formulate a definition for blue-and-green landscape painting and trace its development in the narratives of Chinese art. Chapter One straightens out the depictions of an ideal world in the blue-and-green tradition, dividing them into ‘recluse’, ‘peach blossom spring’ and ‘immortal land’, and deciphers the meaning of the works regarding their techniques and subjects. Chapter Two studies the masters of the modern and contemporary art world and their landscape views. The value of blue-and-green landscape painting is still highly regarded not only because it is used to depict an ideal world, but also seen as a means to preserve and continue the traditional painting techniques. The contemporary blue-and-green landscape paintings come in a variety of styles and yet there are at least five categories from my observation. The final chapter is my reflection on the Chinese tradition and on the presence as I express these by making reference to the traditional techniques and styles. In studying the close relationship between the primitive genre of blue-and-green landscape painting and an ideal world, this thesis intends to offer a new perspective in painting blue-and-green landscape in a modern context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蔡德怡. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 84-90). / Abstracts in English and Chinese. / Cai Deyi.

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Art History." Includes bibliographical references (p. 304-331).

Thesis (M.Arch.) - Carleton University, 2005. / Includes bibliographical references (p. 77-78). Also available in electronic format on the Internet.