widely held "from romantic to revolutionary" hypothesis and presents Morris as a "revolutionary" Victorian who has never fell out with the ideas of Romanticism. Together cultural Victorian discourse as well as the ideas of his "teachers" - - Morris's "teachers", and the third chapter focuses on the interpretation of and Morris's utopianism. The interrelated areas of "Nowherian" space (3.2), work and history (3.4) help establish the nature of Morris's visual utopianism on the background of Ernst Bloch's theory of utopia and alongside the

En déplaçant les problématiques traditionnelles - celles des analyses strictement nationales - cette thèse propose d'explorer, à l'aide d'une perspective comparative, l'importance donnée au critère moral par la critique, française et anglaise, lors de sa réception de la peinture victorienne. Le corpus de ce travail s'appuie sur l'étude successive des œuvres anglaises présentées tant aux expositions universelles parisiennes (1855, 1867, 1878 et 1889) qu'à la Royal Academy et des commentaires critiques publiés dans la presse spécialisée ou non. Cette démarche révèle la dynamique des échanges interculturels entre les deux pays autour de la question morale et met en évidence l'existence d'une réception nationaliste de l'art par la critique. Dès lors, le jugement porté sur une œuvre par un critique dépend de sa culture, de son goût, mais aussi plus largement du contexte social et des principes propres à sa société. À ce titre, le climat de compétition entre la France et l'Angleterre se retrouve dans les articles et ouvrages publiés de chaque coté de la Manche. De puissants débats critiques mettent en lumière les processus d'appropriation et de rejet participant à la définition des deux cultures artistiques. Ils réunissent art et morale en interrogeant l'existence d'un « grand genre » victorien, l'exposition comme un espace permettant à la critique de circonscrire un art national et de se définir elle-même, ainsi que l'influence moraliste de John Ruskin (1819-1901) sur la société et son art. L'hétérogénéité de la profession de critique d'art associée à la plasticité du mot « morale » permet donc à ce travail de proposer une définition de la peinture victorienne et de ses acteurs. / By shifting the traditional issues - those of strictly national analyses - this thesis proposes to explore, using a comparative perspective, the importance given to the moral criterion by critics, French and English, when receiving Victorian painting. The corpus of this work is based on the successive study of English paintings presented at the “Expositions universelles” in Paris (1855, 1867, 1878 and 1889) as well as at the Royal Academy, and of the critical comments published in the press specialized or not. This approach reveals the dynamics of intercultural exchanges between the two countries around the moral issue and highlights the existence of a nationalist reception of art by critics. Consequently, a critic's judgment of a painting depends on their culture, their taste, but also more broadly on the social context and the principles specific to their society. As such, the competitive climate between France and England is reflected in the articles and books published on both sides of the English Channel. Powerful critical debates highlight the processes of appropriation and rejection that contribute to the definition of the two artistic cultures in relation to each other. They bring art and morality together by questioning the existence of a Victorian “grand genre”, the exhibition as a place for critics to circumscribe a national art and define themselves, as well as John Ruskin's (1819-1901) moralist influence on society and the art it produces. The heterogeneity of the art criticism profession associated with the plasticity of the word “moral” therefore allows this work to propose a definition of Victorian painting and its actors.

This thesis approaches the ways George MacDonald viewed and represented Victorian society in his novels by analysing select social issues which he felt compelled to address. Chapter One introduces the thesis. It contains a review of critical commentary on MacDonald’s work, as well as discussions on his non-fictional texts and essays, industrialism, and the great rural-urban divide of the nineteenth century. Chapter Two concentrates on MacDonald’s representations of the city in Robert Falconer (1868), The Vicar’s Daughter (1872), and Weighed and Wanting (1882) by underscoring parallels between Octavia Hill’s housing and environmental schemes and situations which he experienced firsthand. Chapter Three examines the influence of Nature on MacDonald’s theology and social views. Special emphasis is placed on Wordsworth and the development of MacDonald’s unique pantheism in his texts, such as the short story, ‘A Journey Rejourneyed’ (1865-6), Guild Court (1868), Wilfrid Cumbermede (1872), What’s Mine’s Mine (1886), and Home Again (1887). Chapter Four uncovers MacDonald’s involvement with the animal welfare movement during the latter part of the nineteenth century. Discussions on vivisection, vegetarianism, hunting, animal abuse, evolution, and degeneration are provided with a wide range of MacDonald’s texts, such as Alec Forbes of Howglen (1865), Paul Faber, Surgeon (1879), The Marquis of Lossie (1877), A Rough Shaking (1890), and Heather and Snow (1893). Chapter Five offers a short summation of the thesis. It affirms that MacDonald was deeply troubled by certain social issues that were raised within his society and would use his fiction to express his concerns. The conclusion also offers a few suggestive topics for ongoing research in the field of this thesis.

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Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 216-219). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 216-219). Also available on the Internet.

Idén till mitt examensarbete började växa fram förra året när jag studerade ett utbytesår i den amerikanska västkuststaden Seattle. Staden växer och förtätas just nu i en rask takt och de flesta nya byggnader uppförs i en komplex kontext av befintliga byggnader och relationer. De flesta tilläggen skapar idag stora kontraster i stadsbilden. Syftet med mitt examensarbete har varit att utforska hur man för en befintlig byggnad från dåtid till nutid och att skapa en meningsfull dialog mellan gammalt och nytt. Jag har sett det befintliga som en källa till inspiration och kunskap och mitt förslag består av tillägg som både förstärker de rumsliga kvalitéerna i det befintliga och förlänga atmosfären in i det nya. / The idea for my thesis began to emerge last year when I was studying as an exchange student in the US, in west coast city Seattle. The city is currently growing and densifying in a rapid pace and most of the new buildings are being built in existing environments. The vast majority is creating big contrasts in the city environment. The aim of my thesis project has been to carry an existing building from the past into the present and to create a meaningful dialogue between old and new. I have seen the existing as a source of inspiration and knowledge, and my proposal consists of interventions that aim to both strengthen the spatial qualities of the existing, and to extend the atmosphere into my proposed extension. My work also aims to add new ways of experiencing the existing building, to create a new, stronger ensemble of spaces.

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Le présent mémoire cherche à analyser les correspondances qui s'établissent entre les théories esthétiques et morales de John Ruskin (1819-1900) et les oeuvres des paysagistes nord-américains. Plus particulièrement, nous nous attardons sur le cas particulier d'Allan Aaron Edson (1846-1888), un artiste canadien , dont la première période de sa carrière, située entre 1864 et 1880, rencontre les conceptions ruskiniennes. Par l'analyse des ouvrages de John Ruskin, la série des Modern Painters et Elements of Drawing, nous dégageons la notion d'authenticité, conception fondamentale de l'auteur sur l'art et la nature. Pour mieux cerner la complexité de cette médiation artistique, nous étudions les relations entre les théories' ruskiniennes et sa réception par l'Amérique du Nord. En traitant des questions identitaires, il nous est alors possible d'analyser le vocabulaire idéologique, stylistique et technique employé par les paysagistes américains. Nous analysons ensuite les implications de ces théories dans la pratique d'Edson.

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