The problem being considered in this paper is the alienation of the general viewer from contemporary art. Modern art has become less understandable than ever before to the non-art audience because it has, in many cases, ceased to deal with human-oriented subject matter, and has become detached from life. This paper examines ways in which modern art might be made more accessible to the world through the artists' use of emotion, intuition, intelligence, and other Humanistic elements as content for paintings. It contains a four-part proposal of what Humanist art is. The basic form is the use of rhetorical questions about modern art, leading one to more questions and to a broader, more open-minded attitude toward modern art.

From 1966 to1976, science fiction films tended to depict civilizations of the future that had become intrinsically antagonistic to their inhabitants as a result of some internal or external cataclysm. This dystopian turn in science fiction films, following a similar move in science fiction literature, reflected concerns about social and ecological changes occurring during the late 1960s and early 1970s and their future implications. In these films, "dystopian" conditions are indicated as such by music incorporating distinctly modernist sounds and techniques reminiscent of twentieth-century concert works that abandon the common practice. In contrast, music associated with the protagonists is generally more accessible, often using common practice harmonies and traditional instrumentation. These films appeared during a period referred to as the "New Hollywood," which saw younger American filmmakers responding to developments in European cinema, notably the French New Wave. New Hollywood filmmakers treated their films as cinematic "statements" reflecting the filmmaker's artistic vision. Often, this encouraged an idiosyncratic use of music to enhance the perceived artistic nature of their films. This study examines the scores of ten science fiction films produced between 1966 and 1976: Fahrenheit 451, Planet of the Apes, 2001: A Space Odyssey, THX-1138, A Clockwork Orange, Silent Running, Soylent Green, Zardoz, Rollerball, and Logan's Run. Each is set in a dystopian environment of the future and each reflects the New Hollywood's aspirations to artistic seriousness and social relevance. The music accompanying these films connoted an image of technological and human progress at odds with the critical notions informing similar music for the concert hall. These film scores emphasized the extrapolated consequences of developments occurring during the 1950s and 1960s that social activists, science fiction writers, and even filmmakers regarded as worrisome trends. Filmmakers drew on the popular perceptions of these musical sounds to reinforce pessimistic visions of the future, thereby imbuing these sounds with new meanings for listeners of the contemporaneous present.

This thesis proposes changes to the Golden Lane Estate in central London to integrate the public spaces within the estate with the surrounding city[M1] .   The Golden[M2]  Lane Estate is a modernist housing complex consisting of nine residential buildings with 564 flats. It was built as a council house project in 1952-1962 to satisfy the housing need after the Second World War.   Current observations show that the public spaces at the Golden Lane Estate are mostly empty and spread over different levels increasing the spatial separation. Residents use the large open spaces for transit to or from their flats and visitors are rarely attracted. The modernist layout, where few people share space in front of the entrances to their flats, have affected the perceived ownership of public space at Golden Lane. It is neither perceived as private nor fully public.   I have assumed that the residential buildings should stay intact. They are architecturally and historically valuable and serve their purpose well. The flats are popular and the estate was listed in 1992.   The Golden Lane Leisure Centre is situated in the middle of the estate. In the listing record it is described as a chief example of the architects’ belief that a housing development should not just be a collection of flats but a real part of the city; it provides welcome facilities for those who live outside the estate as well as for residents.   By reviving the Leisure Centre and turning unused garages into offices the two western public spaces are activated and restructured to be attractive to residents and visitors again. The revenue from the commercial spaces can finance an upgrade of the eastern public spaces to be a calm oasis where residents can realise their gardening dreams or office workers have their lunch. Today’s Golden Lane Estate can become a real part of the city with four attractive places adding value for residents, workers and visitors.

<p>This dissertation traces invocations and theories of electric power in modernist literature by women, showing how four modernist authors—Edith Wharton, Hilda Doolittle (H.D.), Olive Moore, and Jean Rhys—deploy electricity in their fiction and highlight its varied and contradictory cultural meanings. Modernist literature by women leverages the open and strange impressions from the era of what electricity might mean, so that authors might make their own arguments about where artistic impulses originate, how homes would change when they became wired, how modernization would change modernist art forms, or why some social spaces gleam brighter than others. Edith Wharton and Jean Rhys highlight cultural and class system dynamics with their electric metaphors and electrically wired settings, in which they fuse mental states with modern atmospheres. H.D. and Olive Moore explore how women experience artistic inspiration, as either a transcendent space of unlimited possibility for the former, or as proof of the limitations of gender for the latter. </p>

The diploma thesis concerns the replenishment of the urban mosaic of Frýdek-Místek regional town in the Czech Republic. A new local vision for the Riviéra housing estate is to be set. The intervention area spirals around the brownfield of a former spinning factory, which is included into the modernist urban area. The brownfield neighbours with the Janáček park, which is standing out in the surroundings in the means of the articulation and condition of the public space. The fenced areal, on the other hand, forms a barrier to the urban life. The aspiration of the project is to unscramble the potential of the unbuilt area within the vivid part of the town.

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Thesis advisor: Joseph Nugent / In this paper, I unite scholarly understanding of T. S. Eliot’s recurring character, Sweeney. I present the origin of Sweeney through Eliot’s knowledge of classical and Irish myth as well as his contemporary views surrounding Ireland, Catholicism, Africa, and Afro-modernism. In discussing dramatic Sweeney, I incorporate an understanding of Eliot’s contemporary works on Senecan tragedy to unravel the fragmented nature of “Sweeney Agonistes.” I conclude my first chapter by discussing Sweeney’s “death” by analyzing Eliot’s recent conversion to Anglicanism and emerging views of poetic metaphysics. My second chapter unveils the ghost of Sweeney in Eliot’s “Murder in the Cathedral” through the metaphor of stencil art, discussing “Sweeney Agonistes” as an outline. Further, I find Sweeney’s ghost in the work of Samuel Beckett’s "Waiting For Godot" through analysis of themes drawn from an article by Rick De Villier, as well as new studies on technique and characters. I conclude with my explanation of Sweeney as a “new” Senecan Tragic Hero based on the terminology of semper idem - always the same. / Thesis (BA) — Boston College, 2024. / Submitted to: Boston College. Morrissey School of Arts and Sciences. / Discipline: English. / Discipline: Departmental Honors.

Were the years of the Fundamentalist/Modernist Controversy (1890-1936) in the Presbyterian Church in the USA years of doctrinal development? This dissertation argues that the answer to this question is both "yes" and ''no." This dissertation, in exploring this particular era of modem American church history, takes its structure from well-known Catholic theologian, John Courtney Murray, and his contribution to the discussion of doctrinal development as it applied to the years of the Arian Controversy culminating in the Council of Nicaea. Murray identified three factions in that struggle: the Futurists, the Archaists, and the Centrists. The Futurists, represented by Arius and his followers, sought to identify Christianity with the prevailing philosophies of the day, thereby reinterpreting and altering certain affirmations of the faith. The Archaists, as seen in the person of Eusebius of Caesarea, reacted strongly to the Arians' proposals by not admitting any doctrinal formulation not couched in the 'sacred words' of Scripture. The Centrists, representing more balanced judgment, as seen in St. Athanasius, prevailed in the end. He saw that doctrinal development, which is herein defined to mean further definition, clarification, and application of existing truths, does indeed take place but not at the expense of denying the historic affirmations of the faith. After investigating development, tradition (the results of doctrinal development over time) and historicism (the theory that doctrine develops out of the historical process itself), Murray's structure is then applied to the struggles in the Presbyterian Church in the early twentieth century. Beginning with Charles Briggs of Union Seminary in New York and his avocation of historical criticism as applied to the Scriptures, the Presbyterian Church in the USA was thrown progressively into turmoil regarding just what constituted the historic affirmations of the faith. Briggs and those who followed, the Liberals or Futurists, wanted to jettison or remold a sizeable portion of the historic Westminster Confession of Faith, the doctrinal heritage of Presbyterianism. Further events, such as the confessional revision of 1903 and the Cumberland reunion of 1906, helped to propel the entire church in a Futurist direction. Opposition from the beginning came primarily from Princeton Seminary. Princeton's professors sought to maintain the historic, confessional stance of the church. In this endeavor they were at times Archaists, Centrists, and even Futurists. The efforts of those who would preserve the traditional, confessional stance of Presbyterianism, however, were doomed to failure as the church moved steadily in a Futurist direction. After some brief insights into the more prominent Futurist personalities and the rise of Fundamentalist opposition, the remainder of the dissertation is taken up with the exploits of J. Gresham Machen and his expulsion from an increasingly Futurist church. Machen was viewed as a trouble maker for opposing this trend. Those of more moderate sentiments often sided with the Liberals/Futurists over against Machen. After much anguish and a lengthy trial, Machen was deposed from the office of minister in the Presbyterian Church in the USA. He immediately proceeded to found a new Presbyterian denomination. Into this new church came both Archaist and Centrist alike, who had previously formed an uneasy alliance in opposition to the Futurism in the mother church. The coalition, however, did not last, and after a short time fragmented into smaller constituencies. Although things did not change all at once in the Presbyterian Church in the USA, Liberalism/Futurism became the norm and remains so until this day. This dissertation argues that the confessional revision of 1903 and the work of J. Gresham Machen can be classified as doctrinal development and, thus, Centrist endeavors. All of the other events of significance that characterize the Fundamentalist/Modernist Controversy were either Archaist in character or Futurist endeavors more concerned with changing the historic affirmations of the faith than developing them. / Church History / M.Th. (Church history)

This thesis examines the degree and nature of D.H. Lawrence’s interaction with the concept of evolution, as manifest in his novels and the longer of his short stories. It addresses both Lawrence’s engagement with evolutionism directly informed by biology and his relationship with extrapolations of evolutionary ideas from outside the scientific sphere. In particular it considers the theories of Henri Bergson, and theosophical and occultist appropriations of evolutionary concepts. Instead of approaching Bergson as a philosopher of time, as has much previous research into Bergson’s impact upon modernist literature, the thesis considers how the Bergsonian notion that a ‘need of creation’ drives evolutionary development is reflected in Lawrence’s fiction. Chapter One investigates the role of the imagination in interaction with nature in Lawrence’s earliest novels, in particular The White Peacock (1911). It suggests that while creative imagination may appear to give a distorted impression of wider nature, it is nonetheless seen to be necessary for contact with the world to be enriching. Chapter Two considers the relationship between creativity and development in The Rainbow (1915) and Women in Love (1920), suggesting that creative force is seen to provide a means to resist the effects of wider cycles in nature between evolution and dissolution. In Chapter Three, Lawrence’s novels of migration and self-discovery, The Lost Girl (1920) and Aaron’s Rod (1922), are suggested to employ intricate Bergsonian structures, whereby the respective protagonists simultaneously explore multiple paths of evolutionary development, despite the ostensible paradoxes which result from this. Chapter Four, focusing upon Lawrence’s Australian fiction, considers the relationship between the hostile environment of Australia and the evolutionary development of its inhabitants. Chapter Five considers the importance of occultist evolutionism to Lawrence, using his annotations to P.D. Ouspensky’s Tertium Organum as a means to better understand the mystical aspects of the fiction he wrote while in North America. Finally, Chapter Six addresses the presentation of illness and injury in Lawrence’s work, particularly in Lady Chatterley’s Lover (1928), examining the relationship between the composition of an individual and his or her ability to fit into the structures of wider nature.

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com