Texte remanié de: Th. doct.--Lett.--Montpellier 3, 1995. Titre de soutenance : Familles et communauté en Languedoc rhodanien. / Bibliogr. p. 423-565, vol. 2.

Victor Hugo is well known as a poet, a playwright and a novelist, but until recently he has not been recognized as a philosopher; for many years critics have admired the literary output of the man, but criticized the apparent contradictions and inconsistencies of his thought. Further studies have, however, revealed the true nature of Hugo's philosophy, and shown it to comprise a well thought out and coherent system. One of the most important themes in Hugo's work is that of human progress. In Les Misérables, Hugo's great novelistic masterpiece, he develops this theme and explores various of its aspects, treating at the same time many vital components of his philosophy. In examining the theme of progress in Les Misérables we have therefore sought to explore Hugo's ideology, as expressed in the novel, and to relate it to general nineteenth century currents of thought. This first necessitated a study of Hugo's religious beliefs, including his experiments with spiritualism and his belief in reincarnation and the hierarchy of beings. We then established the close relationship which exists between the poet's religious beliefs and his faith in the doctrine of progress Armed with an understanding of these basic principles, we then undertook a close textual analysis of the novel, examining Hugo's belief in the perfectibility of man and the perfectibility of society. Having laid the groundwork in Chapter I, we were therefore ready, in Chapter II, to study Hugo's belief in the progress of the individual : after looking at his portrayal of each level of the hierarchy of beings, we then looked at the various elements involved in the "progress" of the human soul, as illustrated by the characters in the novel. Then, in the third chapter, we approached the broader question of the progress of society and of Hugo's view of historical, political, social, economic and scientific progress. This in-depth study of one aspect of Victor Hugo's great novel thus led us to an understanding of the author's world-view, and of his conception of the relationship between man, God and the universe. It is a deeply religious, unique, and fundamentally optimistic philosophy, presented in a highly poetic manner. Although we may not accept all of Hugo's arguments, it is hard not to be stirred nonetheless by this thought-provoking work. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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

Diane Victor has been a prominent figure in the South African artworld since she won the Atelier Award in the 1980s. Since then she has self-inflicted violence into her work; stretched it and stripped it whilst she wrestles with the beast within others and how she portrays that in her work. This research report is concerned with answering the question Who is the ‘Beast’ in the work of Diane Victor? It begins by defining the term ‘Beast’ and situating Victor’s artistic practice in an identified trajectory in Western art history. The report traces the presence of the Beasts in Victor’s work, and follows the metamorphosis of the human form as its internal corruption is explored and revealed through the use of non-human animal parts. Furthermore it investigates the artist’s use of her practice to position herself in relation to the values and conventions inherited from the culture in which she lives. Finally, it provides invaluable insight into who the Beast may have been all along and moreover what it means to be human.

Thesis advisor: Boyd T. Coolman / Achard of St. Victor's (1100-1171) theology is best understood through the lens of participation in God. He identifies three modes of participation: creation, righteousness, and beatitude. Participation by creation denotes the common image of God found in all humans. Participation by righteousness is the central focus of Achard's theology and consists of the increase of virtue, manifest in the love of God and neighbor. Finally, participation by beatitude is unity Trinity. The modes of participation are progressive, each on building upon the previous mode. Participation establishes a framework which situates Achard's Christology, pneumatology, Trinitarian theology, theological anthropology, and ethics and also creates a theology that takes an individual's virtue as the starting point. This participation framework bridges speculative theology and practical application, reflecting the ecclesiastical reform movements of his time. The result is theology of Christian life that is a balance between contemplation and concrete action. Achard expresses his participation centered theology through the use of homiletical images that serve to teach and inspire. I argue that Achard has a master symbol of a triple interior cathedral that is built by Christ, through grace, in the souls of the faithful. The building of this structure corresponds with progress in the spiritual life, moving from participating in God through creation, righteousness, and beatitude. Achard's theology presents a dynamic relationship between theological doctrines and images, between pedagogy and application, and between the present life and the life to come. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

No description available.

This creative project embodies an original translation of "El presidente y la felicidad." The bulk of the project consists of the translation The President and Happiness interspersed with the original text in Spanish. It has been categorized as a creative project rather than a thesis as it contains no critical or exhaustive investigation aimed at revising accepted conclusions.The other contents included provide a preview to the translation and a summary of the experiences gained from this exercise. The ideas presented here are to be considered the personal opinions of the writer.This work will serve as useful source material to students of Theatre Arts and Spanish at high school and beginning college levels.

Thèse--Histoire de l'art--Paris 1, 1993.

Texte remanié de: Thèse de doctorat--Art et archéologie--Paris 4, 1991. / Bibliogr. p. 457-474. Notes bibliogr. Index. PUPS = Presses de l'Université Paris-Sorbonne.

Thèse de doctorat--Paris 1, 1992.