Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentes. / This thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training.

The present study focusses on the description and analysis of the religious beliefs and practices of a central Taiwanese spirit-writing cult or "phoenix hall" (luantang). A phoenix hall is a voluntary religious association of congregational character centring upon communication with the gods by means of the divinatory technique of "spirit-writing" (fuluan). While spirit-writing can be and is used as an oracle for the solving of believers' personal problems, its more high-profile application is for the writing of so-called "morality books" (shanshu), i.e., books of religious instruction and moral exhortation. Spirit-writing cults are nowadays the most important sources of such works. Much attention has been given to morality books as mirrors of the social concerns of their times, but comparatively little work has been done on the groups that produce them and the meaning these works have for them. An adequate understanding of the meanings and functions of morality books, however, is impossible without some knowledge of the religious groups that produce them and the role played by morality books in their beliefs and practices. It is the objective of this thesis to provide a detailed description and analysis of one such group, the "Temple of the Martial Sage, Hall of Enlightened Orthodoxy" (Wumiao Mingzheng Tang), a phoenix hall in the city of Taizhong that was founded in 1976 and has played a significant role in the modern development of the shanshu genre through the active and varied publications programme of its publishing arm, the Phoenix Friend Magazine Society. The study utilizes data extracted from the Hall's published writings as well as interview, observation, and questionnaire data collected during an eight month period of field research in Taizhong. Part I provides a macrohistorical overview of the development of spirit-writing cults on the Chinese mainland (chapter 1) and on Taiwan (chapter 2) since the nineteenth century, leading up to the case-example's microhistory (chapter 3). Part II is devoted to an account of the beliefs and practices of the Wumiao Mingzheng Tang, including descriptions and analyses of its organization, deities, ritual activities, concepts of moral cultivation, and of the body of morality book literature it has produced over the years. The appendix contains samples of the cult's morality book and scriptural literature, as well as of various liturgical texts. / Arts, Faculty of / Asian Studies, Department of / Graduate

The aim of this thesis is to consider Kramerius not priori as a "national revivalist" but as a writer and a publisher. I am trying to point out that Kramerius can use and construct nationalism not only for the "general welfare" but also for his own needs. On the basis of this optics, the education of readers may also seem as an instruction how to become a good customer of Kramerius. As an umbrella term for the access to the sources - travel writings by Kramerius - I choose the New Historicism connecting the literature with historiography and emphasizing on the representation and the genre of the text. The purpose of this work is also to point out constructiveness a number of phenomena, which are often seen as objective. More than anything else, this work is the analysis of stereotypes. Keywords: Václav Matěj Kramerius, travel writings, nationalism, constructivism, the Czechs

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Over all, this thesis was written to be a "ramble" of its own around and through three issues that are central to the writing of the personal essay-voice, authority, and experience-and central to the emergence of this author's own sense of "self."Drawing upon years of voluminous journals, this collection of six personal essays demonstrates what the scholarly introduction proposes: that the personal essay is both a valid genre and a magnificent bridge from informal life-writing to genuine literary accomplishment. Drawing on Phillip Lopate's differentiation of "memoiristic" essays from the more classic autobiographical form, this collection includes three of each "persuasion." First, there are three autobiographical pieces which combine narrative with exposition. In the second section of the thesis there are three memoiristic essays written entirely in a story-like style, employing such devices as dialog, character development, and detailed description.

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This inquiry project explores connections between mind and body in academic writing. What scholars, educators and researchers have noted about the inclusion of the body in academic study illuminates the challenges of understanding the relationship between the two. Using a framework shaped by embodiment and feminist criticality illuminates how the body is elided through schooling and educational systems, reaching a peak in higher education. An interdisciplinary review of the literature supports a broad consideration of embodiment and typical writing practices in academic settings. To better understand the body as a source of knowledge, data construction is holistic, using an embodied methodology with women who reenter graduate school later in life. Mindful awareness of the body guides the relating of writing experiences, and methods are designed with an ethic of care for participants, a spirit of co-creation, and shared experience. A narrative approach to data is used to explore where and how embodiment appears in women’s stories about academic writing. The research process reflects a time of social separation within a pandemic. By better understanding women’s embodied experiences, this project seeks to enrich and enliven the way institutions of graduate study understand writing as an embodied practice and to honor what the body knows alongside the mind.

This dissertation examines the role and position of Jewish women in the Near East between 200 BCE - 200 CE. This was a very important period in Jewish legal and cultural history. The redaction of the Mishnah, the oldest extant body of Jewish law, was completed at approximately the end of the time under review, and was to have a lasting influence on the Jewish people. No society exists in a vacuum. During these years the Jews lived within the GraecoRoman Empire and this reflected on their attitudes towards women. To appreciate this it has been necessary to go back in time to the Hebrew Bible and to trace any attitudinal changes which occurred over the centuries. Although the Mishnah has been regarded as the terminus ad quem of this investigation, brief mention is also made of prevailing attitudes affecting women in present day Jewish society. / Biblical and Ancient Studies / M.A. (Judaica)

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Old Testament & Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

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