Alsike convent, located in the countryside between Stockholm and Uppsala, has existed since the 1960’s and has been active as a sanctuary for refugees who are in the process of waiting to get their residence permit or who are paperless, since the 1990’s.The existing convent consists of a group of buildings around a courtyard, located in close connection to a church. The main building is a typical Swedish vernacular, red painted house, with bow windows protruding from the roof. The diploma project is an extension to the convent. A project that lead to an exploration of the landscape, materiality versus abstraction; about the combination of the poetic with the pragmatic. / Aliske kloster är lokaliserat i naturskön miljö mellan Stockholm och Uppsala, och har funnits sedan 1960-taet. Klostret har även sedan 80-talet verkat som ett flyktinghärbärge. Det existerande klostret är inhyst i en traditonell svensk landsbygdstypologi, ett falurött hus som tidigare var en by-skola, brevid klosterbyggnaden finns en medeltida tegel-kyrka. Examensarbetet handlar om en tillbyggnad av det befintliga klostret och handlar om hur det byggda förhåller sig till landskapet. Ääven den ovanliga mixen av arkitektonisk programering som kombinationen av boende, kyrka, flyktinghärbärge och andlig retreat innebär undersöks. Slutligen undersöker arbetet materaliteten och abstraktionen i tegel.

The conversion of the convent of San Francisco into a school of architecture in Havana, comes out of my omnipresent desire to work with old structures, my faith in architectural education, and my love for he city in which I was born. My intention was to propose an alternative to conventional restoration and preservation. From the mutilated body of the convent, and the seed of education planted by the monks the new school sprung. The memory of the lost limbs, still present in the city, began to materialize slowly, letting the old structure breathe again. / Master of Architecture

When a group of Ursuline nuns arrived in New Orleans from Rouen in 1727 it significantly changed the sacred musical landscape in the Louisiana Territory of New France. The women brought with them their commitment to education, a tradition of using music in their worship, and music similar to that performed in the Chapelle Royale of Louis XIV. Before 1727 the practice of sacred music in New Orleans was practical and simple, established by Capuchin priests in 1725 with the construction of a school and a makeshift church. The construction of the Ursulines' own permanent building in 1734 allowed the nuns to further emphasize their commitment to education through music. After the Ursulines arrived in New Orleans, the first French settlers were from wealthy and noble families that had a need and yearning for homeland familiarity and culture. In 1730 the Ursulines solidified their educational mission in New Orleans by establishing a lay confraternity with a group of French women colonists that secured a bridge of continuity between the nuns, the religious culture of France, and the members of the colony. In 1754 the sisters were given a manuscript entitled Nouvelles Poésies spirituelles et morales, copied in Paris in 1736. Now known as the Ursuline Manuscript, the collection contains music by composers active in the reign of Louis XIV. It is not known if the manuscript was prepared specifically for the nuns, but by examining the music in this manuscript--which contains well-known instrumental works turned into sacred vocal parodies--I will demonstrate that regardless of the copyist's intention, the music in the manuscript filled a need for such a document given the physical and cultural landscape in which the collection found itself. I will also discuss the importance of the manuscript and its place in the study of music history in North America, including a comparison between French and other European musical practices that were maintained in the New World in the eighteenth and early nineteenth centuries.

Thesis (B.A.(Hons.))--University of Adelaide, Dept. of History, 1994? / Includes bibliographical references (leaves 2-16).

Thesis advisor: Margaret Guider / Thesis advisor: Gerald O'Collins / Thesis (STL) — Boston College, 2017. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Arno A. Bellack. Dissertation Committee: Dwayne Huebner. Includes bibliographical references.

Thesis (Ph. D.)--University of Notre Dame, 2004. / Thesis directed by John C. Cavadini for the Department of Theology. "July 2004." Includes bibliographical references (leaves 211-225).

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 103-104). Also available in print.

This thesis will shed light on the mechanics of women's enclosure in Spanish cinema and television since the transition to democracy, particularly convent and prison spaces. The study aims to make an original contribution to the field of Spanish cultural studies by highlighting the tension between these spaces as sites of control and sites of community, a tension which both problematizes and enriches the negotiation of the abject, the excessive, and the inassimilable within Spain. Following some contextual scene-setting laid out in the Introduction, the first two chapters explore how the convent was recuperated in the popular imagination after the end of the dictatorship. The first chapter will examine convent space in three post-transition biopics of the sixteenth century Spanish mystic, Teresa de Jesús: Josefina Molina's 1984 TVE television series, Teresa de Jesús, Ray Loriga's 2007 film Teresa, el cuerpo de Cristo, and Jorge Dorado's recent TV movie, Teresa (2015). This analysis will unravel the concrete and historical forces which have shaped representations of the saint's space, particularly how Teresa's mysticism has imbued the convent with authority as a political tool in defining national identity and gender roles. Equally, it will examine how the ineffable experience of the mystic ultimately makes the space unassimilable to any overarching power structure. The impossibility of assimilating convent space will then be the focus of the second chapter which explores the use of different aesthetic registers to render the convent socially intelligible in two mid-eighties convent films, Entre tinieblas (Almodóvar 1983) and Extramuros (Picazo 1985). The next two chapters focus on the construction and management of Otherness in representations of female homosocial enclosure during the mid-nineties. The third chapter looks at two adaptions of the stage play, Canción de cuna - José María Elorrieta's 1961 version and José Luis Garci's 1994 remake - to examine how the radical Otherness of convent enclosure has been mitigated on screen in order to ease anxieties around unmarried, childless women, and to reclaim the space as part of the national landscape. Chapter 4's analysis of Libertarias (Aranda 1995) and Entre rojas (Rodriguez 1996) will contrast this with a study of how the Otherness inherent to homosocial enclosure has also been exploited as a path towards new imaginings of community and intimacy. The final section will examine gender, memory, and martyrdom in women's prison films since 2000: Las trece rosas (Martínez-Lázaro 2007), La voz dormida (Zambrano 2011), and Estrellas que alcanzar (Rueda 2010). This chapter will consider how enclosed environments have been used to frame martyrdom narratives, problematically situating them at the intersection of traditional Catholic iconography and more contemporary depictions of imprisoned and confined women. While the study focuses primarily on cultural production since the transition to democracy, emphasis is placed throughout on tracing the roots of these representations to earlier hagiography, missionary films, and the cine religioso of the 1950s. These connections not only demonstrate the endurance of the convent and prison as significant sites in the Spanish popular imagination but also their versatility as a signifying force and the need for more nuanced readings of them in cultural studies.

This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote. / Art History