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This archivally-based dissertation re-contextualizes Robert Louis Stevenson’s South Pacific photographic collection (1888-1894), situating it in relation to his incomplete and posthumously published anthropological study of the Pacific, In the South Seas (1896); his unpublished pamphlet about Samoan colonial conflict, “A Samoan Scrapbook”; and his wife Fanny Stevenson’s diary The Cruise of the ‘Janet Nichol.’ Despite the recent and ample scholarship on Stevenson, few critics have engaged significantly with his photography. These (usually) anonymous photographs, taken by different members of the Stevenson family, were intended as illustrations for a projected book entitled The South Seas. Although this literary project was never completed, a dense photographic archive remains and discloses the many functions of photography during Stevenson’s Pacific career. In this truly interdisciplinary dissertation, I recognize the interdependent relationship between Stevenson’s Pacific non-fiction and his family’s photographic practice and stress that the photographic project was more important to Stevenson’s Pacific writing than has been acknowledged previously. This dissertation addresses the relationship between Stevenson’s photography and non-fiction writing, and demonstrates the important and underlying ways in which Stevenson’s photographs are related to his written accounts of Pacific Islanders and their societies. Furthermore, I contribute a series of close readings of individual (and previously unpublished) photographs, which I contextualize in their appropriate literary, cultural, and historical milieu. This dissertation contributes to a limited body of work that addresses the intersections of Pacific photography, anthropology, and Stevenson’s non-fiction. / Thesis (Ph.D, English) -- Queen's University, 2014-04-03 14:57:53.217

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This thesis attempts a Buddhist interpretation, commentary and reflection on a lecture by Louis I. Kahn (1901--1974) at Pratt Institute, entitled "1973: Brooklyn, New York." This lecture provides the framework and point of departure for a discussion of Kahn's philosophy. With the aid of Buddhist thought, this investigation argues that the ethical function of architecture begins with the effort of the architect to know his or her self. The juxtaposition of Buddhist philosophy and Kahn's lecture on architecture also seeks to present a way in which Buddhist thought might engage and illuminate the issues of ethical action in architecture. In doing so, the possible contributions of Buddhist thought to contemporary architectural discourse may present themselves.

The choice of subject for a history painting, long considered motivated by dramatic considerations, appears to be also, in the light of numerous documents, the expression of the painter's craft. The following study will attempt to demonstrate this aspect in the oeuvre of Jacques-Louis David and, in particular, in The Oath of the Horatii.

Par une étude de cas portant sur les représentations de Louis Riel en bande dessinée, cet essai tente de comprendre comment les différentes composantes, constitutive du médium, sont mise en œuvre pour effectuer la mise en forme du discours historique de genre biographique. Quelle est donc la nature de ce discours? Est-il possible de lui accorder une quelconque légitimité historique? En analysant le parcours historique de la bande dessinée et son traitement en tant qu’objet culturel je vais démontrer que le médium continue de porter les stigmates de son passé et que les préjugés à son encontre constituent un obstacle à la reconnaissance de la crédibilité de son discours. La bande dessinée serait un art mineur, un sous-genre littéraire destiné, de par son essence, à traiter sur un ton léger et amusant les différents sujets qu’elle aborde. Pourtant, en prenant en considération les questionnements de nature épistémologique sur la discipline historique et plus particulièrement ceux sur le processus de mise en forme du discours biographique, on constate que la bande dessinée possède les composantes nécessaires pour soutenir une narration historique. En analysant à la fois sa forme et son contenu et en dressant des éléments de comparaison avec l’historiographie de Louis Riel, je vais démontrer que la bande dessinée constitue un médium postmoderne présentant un discours historique original et crédible.

The works of jurist Louis Le Caron (1534-1613) are part of a body of doxological writings by a school of humanists who repudiated Aristotelian scholasticism. In the Dialogues (1556), Le Caron elaborated a theory of poetics as well as a vision of the cosmos and of man encompassing political, aesthetic, ethical and epistemological perspectives. The Dialogues can be regarded as an example of absolute idealism because their philosophical underpinnings echo the neo-Platonic tradition. This being said, the way the book's arguments are organized into dialogues demonstrates an ideological shift which, in the middle of the century, progressively undermined the current monolithic vision rooted in theology. Thus, the structure of the Dialogues reveals a new emphasis on a field of knowledge largely ignored by Platonism: that of transformation and becoming, the object of opinion rather than of rational certainty.