Diss.--Neuphilologische Fakultät--Tübingen--Universität Tübingen, 1988.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 49-50).

Thesis (M.A.)--Brigham Young University. Dept. of English, 2008. / Includes bibliographical references (p. 64-69).

Thesis--Freiburg im Breisgau. / Includes bibliographical references (p. 271-289).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 49-50). Also available in print.

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

Thesis (M.A.)--Acadia University, 2001. / Includes bibliographical references (leaves 111-119). Also available on the Internet via the World Wide Web.

Charles Meryon is considered to be among the most skilled etchers in the history of French printmaking. Born in 1821, Meryon reached professional maturity during the French etching revival. His most ambitious and well-known project is his Eaux-fortes sur Paris (1850-1854), a suite of 22 etchings comprising twelve large views of Parisian landmarks and ten smaller prints of poems and other images. What is perhaps most remarkable about Meryon's representations of Paris is that they seem to show objective, detailed views of the city while also conveying the artist's subjective, uncanny perceptions of it. This tension between the real and the metaphysical is often interpreted as an indication of Meryon's mental illness, which was well known by critics of his time. One of the most frequently touched on but least developed themes in the scholarship on Meryon is his connection with Edgar Allan Poe, who was widely read and embraced in France beginning in the 1840s. The first French translation of Poe's work was published in 1844 and by the time that Meryon began the Eaux-Fortes suite, several of Poe's short stories had been translated in French journals and newspapers. Meryon began the suite in 1850, just a year after Poe's death, and had completed at least the first state of all of the etchings by 1854. Meryon's suite, like Poe's tales, has an ominous mood and, when considered as a whole, tells a story of a city haunted by corruption and evil and by its own history. In his depictions of the city's architecture and landscape, Meryon penetrates beneath Paris's surface into what he sees as its character and his treatment of his subject aligns closely with Edgar Allan Poe's representations of the modern world. The urban environment's metaphysical underpinnings that are evident in Meryon's Eaux-Fortes sur Paris merit a thorough examination, and a consideration of Meryon's representation in conjunction with Edgar Allan Poe's tales that were popular in France during the years in which Meryon was working makes it possible to put Meryon's work and his perceptions of Paris into a larger context. / text

This thesis addresses critically the work of American artist Allan Kaprow (1927-2006), focusing especially on the tensions Kaprow proposed between 'art' and 'life'. It presents a reconsideration of the most fertile period in Kaprow's career, from his undergraduate studies in the late 1940s to his mature work of the 1970s, prior to the increasing demands made on him to produce re-enactments of his early work. The period 1948-1976 presents a fuller overview of the themes and motivations of his practice than has been scrutinised in the existing literature. The research is based on extensive examination of the Allan Kaprow Papers at the Getty Institute, Los Angeles, which revealed significant and previously unstudied documentation and images. This archive and Kaprow's personal library in Encinitas, California have provided substantial previously unpublished evidence of his early interest in the American pragmatist John Dewey, and reveal many of the motivations for Kaprow's emphasis on change, together with his relational approach to form, context and process. The role of composer John Cage in the development of Kaprow's thoughts on chance helps elucidate the complexities inherent in the development of Kaprow's negotiation between chance and control. The present study also gives, for the first time, a comparative and detailed reading of the five drafts of Kaprow's Assemblage, Environments and Happenings (1966), a reading which sheds fresh light on his art and publications of the period. The thesis also presents a thorough reconsideration of the significance of play in Kaprow's work of the late 1960s and 1970s, including the tensions between and among play, work, hierarchy and liberation. Kaprow's many struggles to conceptualise and reconcile these tensions, and others, such as between audience and participant, private and public and narrative and history, were a necessary feature of the categories of art and artistic identity, including 'Happening', 'Activity' and 'Un-artist' that he helped bring into being.

This thesis offers principles for Christian mission in the present Western milieu derived from a retrieval of the missiology in post-war Scotland of Tom Allan. Allan was a minister, evangelist and theologian of particular public prominence in Scotland and beyond in the period from 1946 to 1964. His missiology focused upon the ‘apostolate of the laity’ through the ‘contextualisation’ of Christianity and Church. It was drawn from diverse, rich sources in Scottish and European theology and tradition. Allan’s gift was to collate and apply such influences contextually to two working-class parishes in Glasgow, and to articulate them within his seminal work on lay evangelism, The Face of My Parish. From 1953 to 1955, Allan was the Field Director of the ‘Tell Scotland’ Movement, which sought to implement his missiology on a national scale. The decision, at Allan’s instigation, to invite Billy Graham to conduct the ‘All-Scotland Crusade’ of 1955 diverted attention from Allan’s lay missiological focus, fatally polarised the differences in emphasis within the Movement, and has since tainted the perception of mission in Scotland. Following consideration of the implementation of Allan’s model of mission, analysis is undertaken of his sources and inspirations, of the underlying causes of the triumphs and failures of his model, and of Allan’s place in mission theology. In particular, inherent tensions are considered between aspects of the model which together straddle the ‘modern’ and ‘postmodern’ to form a ‘tale of two paradigms’; such as the reliance on the institutional Church as both agent and object of mission or the utilisation of mass evangelism, in contrast with the overarching purpose of the lay formation of a New Testament koinonia by a ‘congregational group’. Consideration of Allan’s work is thereafter broadened by considering several contemporaneous streams which further enhanced ‘contextualisation’ of both mission and Church, to be exercised by and for ordinary people: the East Harlem Protestant Parish; the Gorbals Group Ministry; and Robert Mackie, Ian Fraser and Scottish Churches House. Then viewing the work of Allan and his contemporaries through the lens of present global missiology and sociological theory, general principles are derived for mission now. Such principles form the basis of a model within ‘late modernity’ of contextual mission which might move beyond the private/public constraint on religious expression. It is a model of ‘local’ mission in conversation with the ‘global’, by the empowerment of the laity to act within the ‘micro-cultures’ which they inhabit. It is a model which re-asserts the primacy of the ‘whole people of God’; seeking the organic growth of koinonia with or without reference to the institutional Church; through a ‘both/and’ missiology of word and deed; exercising ‘prophetic dialogue’ in ‘bold humility’; in cross-cultural translation as a two-way process towards a fuller ‘interculturation’.