In 1931 William Faulkner introduced to the scrutiny of the public eye one of his most admirable and delightful characters, and for the following three decades the history of Yoknapatawpha County was enriched and deepened by the appearance of this gentleman and man of words--Gavin Stevens. There has been no lack of critical attention given to Gavin Stevens and his role in Faulkner's stories and novels, and that criticism encompasses a variety of opinions, ranging anywhere from intelligent and sympathetic interpretation to unsympathetic rejection. With such an abundance of critical opinions and evaluations, perhaps justification for another piece of criticism on Stevens might best be stated in negative terms, in pointing out limitations in the criticism that already centers on Stevens.

Thesis (Ph.D.) - University of St Andrews, September 2008.

The Introduction takes the form of an account of Douglas's aims and methods in translation as stated by himself. One of the predominant features of the Eneados is the amount of expansion, so this subject is introduced in the first chapter, necessarily briefly, because it is a topic which recurs in association with other features throughout the poem and has to be returned to more than once. Another predominant feature is the large number of inaccuracies in Douglas's translation. As surprisingly little attention has been paid to this matter, several chapters have been devoted to the various forms which it takes. The aim of this first part of the thesis is to provide material to disprove the claim that Douglas was an accurate translator, a claim still frequently made. In order that the negative aspects of Douglas's work should not monopolise the study, a number of parallel passages are discussed, where Douglas's version is set out along with that of one of five other poets, spanning the period from the 16th century to the present day, the aim being to draw attention to Douglas's positive poetic skills. Three appendices are added, the last of which takes the form of a collation of the 1501 (Paris) edition of Virgil's Aeneid, which Douglas principally used, with the Oxford Classical Text (1969) This has been included to disprove another statement, to the effect that his apparent inaccuracies disappear when related to the 1501 text. The variations between the two texts, although numerous, are mainly insignificant, and only a very few of Douglas's inaccuracies are to be explained in this way.

The purpose of this essay is to analyze views on the relationship between other religions and the Christian notion of salvation as they are presented in works by theologians Gavin D ́Costa, Kajsa Ahlstrand and Karl Rahner. To interpret their views, I use the fourfold model for theology of religions as it its presented by theologian Jakob Wirén. Because the purpose of this essay is to analyze the relation between soteriology and other religions I use the fourfold model solely to analyze the soteriological implications of their respective theology.  I have restricted my analysis to the three works Vägar – En öppen religionsdialog by Ahlstrand, The Meeting of the Religions and the Trinity by D ́Costa and Religiös Inklusivism by Rahner. These works represent different ways of framing theological content where Ahlstrands work tends to be descriptive while Rahners and D ́Costas tends to be normative in their approach to the subject.  The results of my analysis follow along the line as I conclude that Ahlstrands position within the fourfold model cannot quite be determined. However, I conclude that her views are not to be placed within the exclusivism spectrum even though her position cannot be specified further with regards to her text.  My analysis places both Rahner and D ́Costa within inclusivism but also shows that they represent to very different forms of inclusivism. Rahner sees other religions as righteous traditions where the one God may lead people to salvation earning these people the title anonymous christians. He however stretches that this implies that this people need to be made fully aware that they are in fact christians. D ́Costa on the other hand points out that the spirit acts freely outside the church where it may lead non-christians to salvation. He however stretches that the church must not try to domesticate the work of the spirit outside the church as it has no knowledge a priori on the full implications on where the activity of the spirit within other religions may lead to.  Therefore D ́Costa and Rahner are inclusivists in different ways where Rahner presents a traditional form of christian inclusivism while D ́Costa presents a modern form of inclusivism.  Keywords: Gavin D ́Costa, Kajsa Ahlstrand, Karl Rahner, theology of religions, soteriology.

Eighteenth-century Scottish bibliography is a vast subject still awaiting exploration. There are, however, some landmarks to look for and guides to employ. I am thinking particularly, in the context of my own interests, of the writings of Philip Gaskell, and a work that should open up new sources, Robert H. Carnie’s awaited dictionary of the Scottish Book trade. The national Library of Scotland is in the early stages of compliling a catalogue of its eighteenth-century Scottish books which, no matter what form it takes, will provide scholars with a major tool. The description of books has been and doubtless will continue to be a controvertial subject, but those students who have much to identify can take encouragement, I believe from David Foxon’s ‘Thoughts on the History and future of Bibliographical Description’. In this work I map some particular and general areas of Scottish publishing history by examining the partnership of Gavin Hamilton and John Balfour, and the association they formed with the printer Patrick Neill. I study the partners in their own right as booksellers, publishers and printers, but I am concerned also with the larger bibliographical background. Hamilton and Balfour were strong-willed individuals who bought the force of their personal and private interests to bear on their professional lives; Hamilton, especially, in the period under consideration, saw little difference between his duty as a Scottish gentleman and his activities as a Scottish publisher. He and Balfour were far-sighted and adventurous, and deserve to be thought of as central figures in the story of the Edinburgh book trade.

The Trinitarian Perspectives of the Theology of Religions. The Outline of the Approache to the Non-christian Religions in Gavin D'Costa. This thesis presents an analysis of the theological work of British Catholic theologian Gavin D'Costa in the field of theology of religions. The goal of this study is the presentation of D'Costa's huge contribution to the theology of religions and critical examination of his constructive theological concept of Trinitarian Theology of Religions. In the first chapter we provide an introduction to the thought of Gavin D'Costa. We point out his philosophical and theological presuppositions, we go through his most important books and above all we introduce preliminary remarks about his theology of religions, i.e. conception of the relationship between systematic theology, theology of religions and religious studies and the notion of religion in D'Costa. The second chapter classifies D'Costa's approach within the context of contemporary theology of religions. We deal with D'Costa's critique of pluralism, inclusivism and exclusivism. Especially, the D'Costa's polemic with his former teacher John Hick is at the centre of our attention. In the third chapter we consider D'Costa's own paradigm of theology of religion which is based on the Trinitarian faith as well as respectful...

Syftet med detta examensarbete var att undersöka användandet av drama som pedagogiskt verktyg i gymnasieskolans undervisning och elevers attityder till det. För att ta reda på detta användes en enkätundersökning bestående av kvalitativa och kvantitativa frågor på en gymnasieskola i Mellansverige. Resultatet från undersökningen visar att drama som pedagogiskt verktyg upplevs ha flera olika effekter för eleverna, både pedagogiskt som individuellt. Slutsatsen är således att drama inte bara är ett verktyg förbehållet läraren för att skapa en lustfylld undervisning utan drama är också ett betydelsefullt redskap som elever kan använda för sin sociala och emotionella utveckling.

Relatively little is known of European artists who worked for short periods of time in the American Colonies during the eighteenth century. Perhaps Cosmo Alexander was typical of other artists who came to America seeking greater opportunity than in their homeland, only to leave several years later, perhaps disillusioned and no wealthier. Artists who are better known stayed in America long enough to build up clientele in a broad area and produced enough works to have many survive long enough to be documented by later sources. As the subjects in many of Alexander's portraits show, there was a large prosperous middle-class patronage of the art of portraiture. Considering the social conventions of the time, personal references and letters of recommendation would have facilitated travel and introduction to prospective clients. The emphasis of this research is the patronage which Cosmo Alexander found in the American Colonies as evidenced by portraits executed between 1765 and 1771. Family connections, Scottish ancestry and communities having large Scottish populations have played a part in determining probable routes. In 1961 Gavin L. M. Goodfellow submitted a thesis to Oberlin College on Cosmo Alexander. This was the first and (to date) the only extensive monograph on the artist. The thesis was general in nature, covering Alexander's life and listing all paintings known at that time, only sixteen of which were believed to have been painted in America. Because he dealt in detail with Alexander's total biography and stylistic characteristics, only one chapter was devoted to American works. Since Goodfellow's research the number of American paintings signed by or attributed to Alexander has increased from sixteen to twenty-six. With greater documentary evidence available, patterns can be established and generalizations made which possibly are typical of other artists in similar circumstances.

Au-delà de la simple reconnaissance d'une activité artistique, la croyance en l'art participe à la compréhension de l'art, de sa représentation et de la représentation de sa fonction. Cette croyance artistique est muable et réagit aux différentes approches artistiques qui lui sont soumises alors qu'elle se divise aussi en diverses expectatives. Ainsi, il n'est pas étonnant que, dans le contexte de crise relatif à l'émergence de l'art contemporain et de la récupération des problématiques duchampiennes, la croyance en l'art soit appelée à se transformer. En fait, dès Duchamp, le milieu artistique a dû se réajuster face à un nouveau modèle artistique. Le bouleversement engendré par les procédures duchampiennes de la distribution des rôles au sein du système artistique a façonné un nouvel univers de représentation de l'art et de sa fonction. L'activité et la structure de ce nouveau système affectent la croyance en l'art et sa portée subversive en modifiant justement le rapport de celle-ci à l'esthétique, l'histoire de l'art et l'artiste, c'est-à-dire son principal, et sûrement dernier, croyant. La position particulière de l'artiste, telle qu'étudiée dans les cas des artistes Gavin Turk, des QQistes et de Marc-Antoine K. Phaneuf, au sein du système artistique contemporain comporte une promesse de survie pour la croyance subversive. Cependant, il n'accomplit pas son engagement face à la croyance telle qu'elle sera approfondie dans la présente recherche, au contraire, il la déçoit en utilisant sa pratique artistique au profit de la reconnaissance de son individualité. Ainsi, alors que s'effritent dans la déception les derniers espoirs de conservation de la croyance subversive, il est néanmoins envisageable d'évaluer les limites et les possibilités qui s'imposent et s'offrent à la croyance artistique pour former les modèles d'une esthétique, d'une histoire de l'art et d'un rôle pour l'artiste plus près de ce que devrait être une nouvelle croyance en l'art contemporain. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Subversion, Croyance, Art contemporain, Gavin Turk, QQistes, Marc-Antoine K. Phaneuf.

Alexander Runciman was in his mid-thirties before he adopted the monumental style of history painting on which his reputation has always been held to rest. What may be called the formative part of his career was therefore unusually extended. This thesis is a study of his development during this time, its background, and the sources from which derived his ideas on painting. This part of his life culminated in the monumental paintings that he did for Sir James Clerk of Penicuik in 1772 and the related work in the Cowgate Chapel, Edinburgh. These were the most important of all his works and were unique in eighteenth century painting. In them he combined the grand style that he had learned during the four years that he spent in Rome, with the native Scottish tradition of decorative painting in which he had been trained. The thesis therefore falls into three parts. The first (Chaps.1-7) deals with his life and background in Edinburgh; the second (Chaps.8-15) with his four years in Rome; and the third (Chaps.16-18) with the works that he carried out on his return to Edinburgh. In the first part attention is given in Chapters 1 to 3 to the men of the older generation from whom he may have learnt not only his style, but also his ambitions as a painter. Chapters 4 and 5 deal with the circles in which he moved among his own contemporaries, and the last two chapters in this part with his own and his younger brother. John's work in Edinburgh before they left for Rome in 1767. In the second part the first three chapters(S-10) cover the brothers' stay in Rome up to John's death late in 1768, or early in 1769. Following this event Alexander became determined to succeed, not merely as a landscape and decorative painter, but in monumental history painting. Chapter 11 is a discussion of the work of Gavin Hamilton and of James Barry, the two painters who influenced him most at this time. This discussion is extended in Appendix D which deals more fully with the work of Gavin Hamilton. Chapters 12-14 are an account of Runciman's first works in the new manner, with particular attention to his proposals for the decoration of Penicuik House. Chapter 15 deals with his relationship to Henry Fuseli at the end of his Roman stay. The last three chapters give an account of the circumstances in which he finally carried out his work at Penicuik, and of the pictures themselves. As they were destroyed by fire in 1899 Chapter 18 and part of Chapter 19 are devoted to a reconstruction of their appearance. The thesis concludes with a discussion of his work in the Cowgate Chapel. The part of this which survives is all that is left of his monumental work.