The Emma Lake Artists’ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops. The Workshops drew the attention and support of many established celebrity U.S. artists and it is due to their presence and influence at the Workshops that it is possible to examine the provincial and national response to perceived U.S. cultural imperialism. The founding and maturity of the Workshops is a case study of the ways in which the politics of Canadian nationalism and the effects of U.S. cultural imperialism in the late nineteenth and early twentieth centuries interacted to impact the growth and development of art communities across Canada. The Workshops serve as an example of the effects, on a regional art movement, of Canada’s relationship with the United States, and Canadian response to the perceived threat of cultural imperialism from the U.S. Because the Workshops were a microcosm of cultural production, involving artists who, aside from their participation at Emma Lake, were often fairly isolated from the ebb and flow of art currents inherent to larger cultural centers, the Workshops are also an important case study of the effects of national and provincial policy on the regional arts. The Workshops’ history reveals that ideas of nationalism, regionalism and continentalism can come together to have a profound and unique effect on the development of an art community. / Thesis (Master, Art History) -- Queen's University, 2011-12-20 17:29:24.88

Made available in DSpace on 2014-12-17T15:26:35Z (GMT). No. of bitstreams: 1 IsaacDBS.pdf: 539336 bytes, checksum: ac9f1f2543159f0c009f0242077b1d5c (MD5) Previous issue date: 2008-07-25 / In this work, we study and compare two percolation algorithms, one of then elaborated by Elias, and the other one by Newman and Ziff, using theorical tools of algorithms complexity and another algorithm that makes an experimental comparation. This work is divided in three chapters. The first one approaches some necessary definitions and theorems to a more formal mathematical study of percolation. The second presents technics that were used for the estimative calculation of the algorithms complexity, are they: worse case, better case e average case. We use the technique of the worse case to estimate the complexity of both algorithms and thus we can compare them. The last chapter shows several characteristics of each one of the algorithms and through the theoretical estimate of the complexity and the comparison between the execution time of the most important part of each one, we can compare these important algorithms that simulate the percolation. / Nesta disserta??o estudamos e comparamos dois algoritmos de percola??o, um elaborado por Elias e o outro por Newman e Ziff, utilizando ferramentas te?ricas da complexidade de algoritmos e um algoritmo que efetuou uma compara??o experimental. Dividimos este trabalho em tr?s cap?tulos. O primeiro aborda algumas defini??es e teoremas necess?rios a um estudo matem?tico mais formal da percola??o. O segundo apresenta t?cnicas utilizadas para o c?lculo estimativo de complexidade de algoritmos, sejam elas: pior caso, melhor caso e caso m?dio. Utilizamos a t?cnica do pior caso para estimar a complexidade de ambos algoritmos e assim podermos compar?-los. O ?ltimo cap?tulo mostra diversas caracter?sticas de cada um dos algoritmos e atrav?s da estima- tiva te?rica da complexidade e da compara??o entre os tempos de execu??o da parte mais importante de cada um, conseguimos comparar esses importantes algoritmos que simulam a percola??o

The subject of study of this thesis is the Kerr-Newman-(anti-)de Sitter space- time, a rotating and charged exact black-hole solution of the Einstein-Maxwell equations with a non-zero cosmological constant. In the first part of the thesis we examine admissible extremal configurations, present the corresponding Penrose diagrams, and investigate the effects of frame-dragging. In the second part, we follow the motion of charged particles via the Lagrangian formalism, focusing on the equatorial plane and the axis where we arrived at some analytic results con- cerning the trajectories. Static particles, effective potentials and - in the case of the equatorial plane - stationary circular orbits are examined. We also perform numerical simulations of particle motion to be able to check our analytic results and also to foster our intuition regarding the behaviour of the test particles. The last part concerns quantum tunnelling of particles through the space-time's hori- zons, specifically the null geodesic method. The main goal of these computations is to obtain horizon temperatures, in which we succeed up to a constant multi- plicative factor. We discuss various pitfalls of the method and stake out a possible approach when applying it to the extreme horizons present in KN(a)dS. 1

John Henry Newman - life and work in the context of the struggle for the universality of the Church ThDr. JUDr. Květoslav Tomáš Krejčí, M.Phil. (Oxon), Ph.D. In the absence of any Czech language monograph since 1939 (or 1947), the thesis presents a summary of the life and work of John Henry Newman (1801-1890). It also contains an original Czech translation of selected writings. Due to its character of a thesis in history of theology, the work also introduces Newman as a writer. A particular attention is given to the reception of Newman's thought in France and Germany, his relationship with Catholic modernism and liberal theology as well as to Newman's impact on the documents of Vatican II.

Summaries and keywords in English and Afrikaans / John Henry Newman maak in sy outobiografiese geskrifte 'n aantal belangrike verwysings na sy toewyding aan Johannes Chrysostomos. Is dit bloot 'n kwessie van vroomheid, of dui dit op 'n dieper verband met die punt dat Newman in sy eie teologiese begrip, geestelike insig en pastorale praktyk deur Chrysostomos beïnvloed word? Hierdie proefskrif poog om te toon dat die besonderse voorbereiding van Newman vir die lees van die Kerkvaders, en in besonder, sy omvattende begrip van Grieks, hom van jongs af tot 'n verdieping in die patristiese denke georiënteer het, 'n feit wat hoofsaaklik deur sy Briewe en Dagboeke getoon word. Die aanhaling van Chrysostomos as 'n teologiese gesag, in Newman se leerstellige geskrifte en in sy gepubliseerde prediking, word toenemend duidelik en demonstreer wat beskou kan word as teologiese eienskappe wat die twee teoloë gemeen het. In Newman se geestelike begeleiding, veral in sy geestelike bystand en begeleiding van vroue, blyk daar 'n korrelasie te wees met raad wat Chrysostomos in soortgelyke omstandighede gegee het. In hierdie studie word dit ondersoek in 'n vergelyking van die briewe van Chrysostomos aan Olympias, en die korrespondensie van Newman met Maria Giberne. Behalwe enkele teologiese ooreenkomste en invloede, eksplisiet sowel as implisiet, is daar bewyse dat Newman iemand baie soortgelyk aan homself in Chrysostomos gesien het: 'n diep teologiese denker wat as gevolg van sy prediking prominent geword het en aansienlike institusionele weerstand op 'n diep persoonlike manier weerstaan het, en ‘n aansienlike mate van verlies as gevolg van sy oortuiging gely het, en tog onbelemmerd in sy getrouheid aan wat hy as sy missie verstaan het, gebly het, as priester,teoloog, leraar en predikant. / John Henry Newman makes a number of significant references in his autobiographical writings to his devotion to John Chrysostom. Is this simply a matter of piety, or does it reveal a deeper connection to the point that Newman is influenced in his own theological understanding, spiritual insight, and pastoral practice by Chrysostom? This thesis attempts to demonstrate that Newman’s very particular preparation for reading the Fathers, and in particular, his comprehensive grasp of Greek, orientated him, from an early age, towards an immersion in Patristic thought, a fact largely demonstrated by his Letters and Diaries. Citation of Chrysostom as a theological authority, in Newman’s doctrinal writings, and in his published preaching, becomes increasingly evident, and demonstrates what might be considered theological characteristics the two theologians hold in common. In Newman’s spiritual direction, particularly in his spiritual accompaniment and guidance of women, there appears to be a correlation with advice given by Chrysostom in similar circumstances; in the present study this is treated in a comparison of the letters of Chrysostom to Olympias, and Newman’s correspondence with Maria Giberne. Beyond any theological similarities, and influences both explicit and implicit, there is evidence that Newman saw in Chrysostom someone very similar to himself: a profound theological thinker, who rose to prominence as a result of his preaching, and who met with serious institutional opposition expressed in a deeply personal way, suffered a considerable amount of loss as a result of holding to his convictions, and yet remained undeterred in his fidelity to what he understood to be his mission, as a priest, a theologian, a teacher and a pastor. / New Testament / D. Litt. et Phil. (Biblical Studies)

Within this work we have been interested in the frame approach to analysis of the field equations in the context of theories of gravity, in particular, the Einstein General Relativ- ity and Quadratic theory of gravity. As the starting point we have summarised the least action principle formulation of the General Relativity and introduced the Quadratic grav- ity extending the classic Einstein-Hilbert action by adding quadratic curvature terms. The Quadratic gravity field equation have been rewritten into the form separating the Ricci tensor contribution. As a next step we have reviewed the Newman-Penrose formal- ism on a purely geometrical level and discussed employing the field equations constraints. While in the case of General Relativity it is quite trivial, in the Quadratic gravity it be- comes much more involved, however, the General Relativity procedure can be followed even here. As an illustration, we have formulated the constraints on the gravitational field in the cases of the spherically symmetric spacetimes and so-called pp-waves both in the GR as well as Quadratic gravity. 1

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Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.

In this study, I expand the scope of the scholarship that Walter Ong and others have done in orality-literacy relations to examine the often uneasy juxtaposition of the oral and written traditions in the literature of the Victorian pulpit. I begin by examining the intersections of the oral and written traditions found in both the theory and the practice of Victorian preaching. I discuss the prominent place of the sermon within both the print and oral cultures of Victorian Britain; argue that the sermon's status as both oration and essay places it in the genre of "oral literature"; and analyze the debate over the extent to which writing should be employed in the preparation and delivery of sermons.