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Informed by the methodology utilized in Peter Williams's Houses of God: Region, Religion, and Architecture in the United States (1997), the thesis examines Mark Lemmon's Gothic Revival design for the Highland Park Presbyterian Church (1941) with special attention to the denomination and social class of the congregation and the architectural style of the church. Beginning with the notion that Lemmon's church is more complex than an expression of the Southern cultural region defined by Williams, the thesis presents the opportunity to examine the church in the context of the unique cultural region of the city of Dallas. Church archival material supports the argument that the congregation deliberately sought to identify with both the forms and ideology of the late nineteenth-century Gothic Revival in the northeastern United States, a result of the influence of Dallas's cultural region.

Depuis les débuts de W. B. Yeats en tant que dramaturge dans les années 1890, le personnage de théâtre irlandais semble pris dans une tempête de mémoire, chavirant entre deux écueils également mortifères, l’impossibilité d’oublier (hypermnésie) et celle de se souvenir (amnésie). Cette crise de la mémoire et par conséquent de l’identité entraîne une prolifération de troubles mentaux chez les personnages et une utilisation métaphorique croissante et peut-être inconsciente de la maladie mentale par les dramaturges comme théâtralisation des bouleversements de la société contemporaine. W. B. Yeats (1865-1939) et J. M. Synge (1871-1909) font de la mémoire dysfonctionnelle non seulement l’un des thèmes centraux de leur œuvre théâtrale, mais plus encore la matière même de leur écriture, alors que la mémoire désacralisée et déstabilisée est réécrite, remodelée par une prolifération de récits mensongers et contradictoires (paramnésie). Ce travail veut alors définir le rapport entre mémoire, maladie mentale et Modernisme sur une période relativement longue (1892-1939) afin d’observer l’évolution des modes d’inscription de la mémoire à l’intérieur du texte en se centrant sur les trois troubles de la mémoire identifiés à l’époque et à la lumière desquels seront étudiées successivement les pièces. Il s’agit de faire un aller-retour entre la perception intuitive de la mémoire par la littérature et les théories psychiatriques contemporaines, l’hypothèse centrale étant que le texte théâtral intègre certaines notions cliniques dans l’étude de la mémoire, ce qui permettrait de voir dans cette relation entre texte médical et texte théâtral l’un des éléments d’un (pré-)Modernisme irlandais. / Ever since Yeats started writing plays in the 1890s, the Irish character seems to be struggling between two opposite pitfalls of memory: on the one hand an impossibility for him to forget, and the other hand an impossibility to retain memories. This memory crisis, which entails an identity crisis, leads to an increasing staging of mental disorders by the playwrights to represent, perhaps involuntarily, a destabilised contemporary society. W. B. Yeats (1865-1939) and J. M. Synge (1871-1909) use mental disorder not only as a theme, but also as a literary ploy as memories in their plays are relived and reconstructed in misleading and contradictory tales. This work focuses on the relationship between memory, mental disorder and Modernism in a long period (1892-1939) in order to underline the evolutions of the representation of dysfunctional memory in the texts. It successively examines the plays in the light of the three major memory disorders identified by psychiatrists at the time: amnesia, hypermnesia and paramnesia. This work relies on a parallel reading of the intuitive perception of memory by literature and the contemporary psychiatric theories, the underlying hypothesis being that some clinical notions of memory dysfunctions have been integrated to the theatrical corpus, which could be a feature of an Irish (early) Modernism.

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Several biographies of Whitefield have been written, chiefly in the nineteenth century, but none of them endeavours to reveal his theology in any extensive fashion. This thesis is an examination of the theological principles and emphases which guided this great preacher who, together with the two Wesleys, stands in the forefront of those men responsible for the Evangelical Revival of the eighteenth century. Throughout, an attempt has been made to reflect the theology of the Revivalists as a whole, to discover whether Whitefield's theology followed primarily the same lines as that theology, and, particularly, to set his theology over against the theological trends of the age and to trace his Calvinism as it touched the generally Arminian tendencies of the Wesleyan development of Methodism. It was inevitable that a fairly full account of the well-known controversy between John Wesley and Whitefield over the question of predestination and other allied doctrines, should be given (Chapter Three). In place of the usual "Summary and Conclusion" which, as the final chapter, would normally have recapitulated in a straightforward manner the doctrines dealt with in the previous pages and have entailed much repetition of conclusions already written into the main body of the thesis, it has been thought more profitable to disclose and compare assessments of Whitefield's theology made in his own and later times, and to base a conclusion on these, bearing in mind always the results of the present research. At all times an attempt has been made to let the preacher speak for himself. Hence the rather full and numerous quotations introduced from his own works. It should be noted that the volume of Whitefield's "Sermons" used throughout and quoted in the footnotes etc. is the one entitled "Sermons on Important Subjects by the Rev. George Whitefield, A.M., with the Character of the Author by the Rev. Joseph Smith" (printed London, 1825 - the same reprinted London, 1828). All quotations from Whitefield's works, it will be observed, have been edited as regards punctuation where it has been considered necessary to alter these for the sake of a more fluent and readable text. In doing this, the sense of the passages concerned has been carefully maintained. It is hoped that the first Appendix will be helpful for quick reference to the chronology of Whitefield, if need should arise.

The idea of home, the ownership of property, and the impact of the home on the moral character and identity of its inhabitants were important concepts in the late nineteenth century. These views were perpetuated by a wide range of supporters including writers, religious leaders, social reformers, politicians. Architects and developers became aware of these ideas and capitalized on the hopes and dreams of middle-class North America by designing, marketing and building the right kind of houses, but perhaps more importantly, by building them in the right location which most often meant the suburban areas around major cities. Architect and writer Franklin Townsend Lent (1855-1919) is but one of many architects practicing in North America who appreciated the contemporary consumers’ sensibilities, and their attachment to their homes. Not only did Lent understand the importance of the concept of home, he was able to develop a design vocabulary that drew on the contemporary fascination with the American colonial period. In addition, he appreciated the consumer’s desire for a beautiful home in the suburbs, and took advantage of this in his work in New Jersey notably on the development of a suburban neighbourhood called Roosevelt Manor. Lent contributed to the built environment by designing and building many suburban houses, island and seaside cottages, and other structures. He also wrote three books and several pamphlets that provide an understanding of his personal contribution to architecture in suburban American, and to the early development of resort architecture in the Thousand Island region of Upstate New York and Ontario, an area that has received very little scholarly attention. This paper will focus on the domestic architecture of Lent in an attempt to construct an understanding of this unique contribution in the context of late nineteenth century and early twentieth century society by examining his published architectural writings, his advertisements, and some representative houses that he designed and built in the United States and Canada. / Thesis (Master, Art History) -- Queen's University, 2012-10-12 14:16:06.91

At the beginnings of the Gothic, in the eighteenth century, there was an anxiety or taboo surrounding consumption and appetite for the Gothic text itself and for the excessive and sensational themes that the Gothic discussed. The female body, becoming a commodity in society, was objectified within the texts and consumed by the villain (both metaphorically and literally) who represented the perils of gluttony and indulgence and the horrors of cannibalistic desire. The female was the object of consumption and thus was denied appetite and was depicted as starved and starving. This also communicated the taboo of female appetite, a taboo that persists and changes within the Gothic as the female assumes the status of subject and the power to devour; she moves from being ethereal to bestial in the nineteenth century. With her renewed hunger, she becomes the consumer, devouring the villain who would eat her alive. The two sections of this study discuss the extremes of appetite and the extremes of bodily representations: starvation and cannibalism.

This thesis examines Josef Jungmann's translation of John Milton's Paradise Lost. Josef Jungmann was one of the leading figures of the Czech National Revival and translated Milton 's poem between the years 1800 and 1804. The thesis covers Jungmann's theoretical model of translation and presents Jungmann's motives for translation of Milton's epic poem. The paper also describes the aims Jungmann had with his translation and whether he has achieved them. The reception Jungmann's translation received after it was published and its significance for the Czech literature is also discussed. This thesis is based on existing works cited in the bibliography and aspires to extend them. Primarily, this thesis focuses on detailed translation analysis of how Jungmann's translation compares prosodically, lexically and stylistically to the original. The main focus of the lexical analysis are neologisms that John Milton introduced in Paradise Lost and aims to find how Jungmann, who is widely considered as one of the foremost innovators of the Czech language, was able to translate them into Czech. There are two key points - lexical correctness and potential inspiration for his neologisms. Key words: Josef Jungmann, John Milton, Czech National Revival, neologisms

Lucie Paříková: Revival of the Khmer Culture Faculty of Arts, Charles University in Prague, Department of Cultural Studies, MA Thesis, 106 pages, 2012 This paper is about issues of Khmer culture after the collapse of Khmer Rouge regime in Cambodia. The subject of this paper is a theoretical analysis of revitalization of Khmer culture after 1979 in the process of sociocultural changes that occurred due to communist revolution and subsequent Khmer Rouge rule. The process of revitalization of the Khmer culture is studied mainly on the level of sociocultural regulatives and ideas. The aim of this work is to contribute, from the perspective of culturology, to the clarification of the process of sociocultural change, which Cambodia experienced under the Khmer Rouge rule. Key words: Khmer culture, revival, sociocultural change, Khmer Rouge