Thesis (M.A.)--Université Laval, 2001. / Includes bibliographical references.

No description available.

Thesis advisor: Boyd T. Coolman / The anonymous Speculum de mysteriis ecclesiae from the 12th century abbey of St. Victor has often been associated with the tradition of medieval liturgical commentaries, but this dissertation proposes reading it primarily as a general treatise on the spiritual life. Its unique Victorine emphasis on the combination of intellect and affect suggests a particular theology of the sign: the real ontological status of the sign relying not on Dionysian hierarchy but on ecclesial contemplation. Through the newly developed sacramental understanding of res et sacramentum, the Speculum suggests that signs have enduring value as signs that goes beyond their function as signifiers. The attainment of the signified, in other words, is only part of their gift. Their “sweetness” is found in an appreciation of their mode of signification — a signification that, the Speculum suggests, endures somehow even in heaven as a non-necessary gracious source of delight. That is, external and visible things in the Church have value not merely because they point us to particular invisible things (what the signs “mean”) but because they teach us the Church’s economy of grace. The Church, then, and her sacramental economy, are central not just to the practical life of individual salvation, but to the meaningfulness of all creation. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

This dissertation analyses the autobiographies of Miriam Makeba, Joe Mogotsi and Hugh Masekela. The story of these formerly exiled musicians' lives as musicians who embodied the urbanising and eclectic black musical ethos of the 1950s onward has been integral to the music historiography on this era. The exilic trajectory of their story also has political resonance, as it parallels the shifts in structures of power characteristic of apartheid South Africa. Popular discourses that construct and narrate an incrementally conscientizing South African populist culture through this period have therefore also represented the musicians, through written and visual material, with this political resonance in mind. The musicians' autobiographies, however, articulate discourses of the nation from positions other these. These other positions are interanimated by literary, musical and socio-political discourses that already pervade the South African historical sphere. This informs the dialogic interplay of time, space and character in their texts, which I examine using the literary figure of the chronotope as a perceptual tool for their reading. Through analysis, I unpack how time becomes symbolically charged and space becomes mythologized in the autobiographies, how departure and eventual exile are narrated, and how the subsequent chronotopic rupture created by exile affects narration of home. Reading the struggle for authorship and authority evident in the texts' vacillation between biographical and autobiographical 'truth', the possible significances towards which this struggle points for a (re ) interpretation of South Africa's (hi)story of exile permeates the subject and process of this research. / Thesis (M.Mus.)-University of KwaZulu-Natal, 2006.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

Much of W. H. Auden's most brilliantly evocative poetry was written during the 1930's. His skill in catching the tones, the topics of his time, and his ability to evoke its moods and its social turbulence are unequalled among those of his generation writing of political unrest, international crises and revolution. It is no surprise that the word "Audenesque" has become part of the language of literary criticism describing a particular poetic style. Yet it was his poetry of the '30's that Auden later in his life revised and/or repudiated, creating textual problems involving basic critical issues related to literary interpretation, readers'responses to much-revised poems, and to the way that textual scholars approach the determinate relations among poems as first printed and subsequent, altered versions that are also authoritative. Traditional textual criticism cannot address all of the problems caused by Auden's extensive overhauling, nor can it provide evidence that some of Auden's harshest critics--the British Scrutiny group headed by F. R. Leavis and American critics Joseph Warren Beach and Randall Jarrell--may have dismissed him as a major poet too soon. But a method of textual treatment called versioning--the presentation of the complete texts of two or more different stages of a literary work--may be the most useful and efficient method of textual treatment for authors like Auden, and for readers and critics who might wish to assess the significance of Auden's revised works by comparing them with original texts. / Department of English

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 199-214). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 199-214). Also available on the Internet.