Conversation in Martereau is largely an affair of platitudinous and banal statements masking the antagonistic content of the subconversation. Consisting mainly of dialogue, The Sacred Fount presents the polished talk that evolves as the characters attempt to unravel an enigma. Though the aims of both authors are very different in many respects, Sarraute and James share a common fascination with the way in which language constitutes a means of dissimulation rather than communication. Dialogue is consequently a problematic element of both novels, registering the drama of the unspoken through commonplace remarks, echoes, and pauses which suggest the presence of a discrete psychological reality. In seeking to renew the dialogue form in the novel, both authors depict dramatic situations in which speech functions as a means of manipulation. The nature of reported discourse in the two novels will be discussed using Jakobson's six-part model of communication, examining in detail the constitutive elements of Jamesian and Sarrautian conversation. The stylistic traits of each author will be considered as a function of the specific constraints of indirect and duplicitous communication. In juxtaposition to the "trompe-l'oeil,” or illusory, reality presented in the dialogue, a pattern of repetitive social exchanges becomes apparent as characters make contact in conversation. While James is most interested in the way in which covert strategies are expressed in speech through implication and allusion, Sarraute examines the effect of speech upon the listener: in both cases, indirect language is perceived as accomplishing certain acts and producing unpredictable effects. The interplay between hidden strategies in James or tropistic activity in Sarraute and dialogue becomes more evident in the narrative discourse, which develops the suggestions and possibilities inherent in the reported speech. The polyphony of the dialogue form is dominated in the narrative discourse by an obsessive observer, who, in the case of The Sacred Fount, is patently unreliable, or at best, unduly sensitive, as in Martereau. An examination of the various forms of narrative intervention, from sporadic inquit interpolations to sustained commentary, suggests the contribution of each novelist in innovating the dialogue form. The post-Victorian experimental novel of Henry James is considered in relation to the nouveau roman, the latter illuminating the autonomous play of language in The Sacred Fount, which documents—if not "l'aventure d'une ecriture"—the adventure of the creative imagination. Placed in parallel with the more traditional dialogue form, Sarraute's work is seen to exemplify the subconscious impulsions generated by the nature of the dialogue. Each author sheds light on the artistic project of the other: incipient, subconscious motivations are brought to light in the Jamesian text, while reported speech is revealed as having a major significance in Sarraute's fiction. / Arts, Faculty of / English, Department of / Graduate

Religious architecture has historically played a primary role in both the study and the development of architectural practices and theories. Undoubtedly, this influence is tied to the position which religious institutions have historically held in shaping cultural values. However, American culture has transitioned into a position where religious organizations are often no longer the primary authority for determining cultural, social, and interpersonal values for many Americans. Additionally many individuals have, for one reason or another, become uncomfortable or feel unwelcome in traditional church structures due to the historical hierarchies associated with them, the innate formality of the spaces, the perceptions of expected behaviors, or discomfort with language and interpretations of spirituality or religion. These changes have had a major impact on the economic and functional dynamics to which religious institutions must now adhere. While churches remain a venue for architectural expression, they no longer hold the position as the primary source for considering architectural culture; which has, for the most part, transitioned to museums, cultural, commercial, or office buildings. It is clear that the manner in which religious organizations operate and conduct themselves must therefore evolve in order to respond to these new forces, and so must the architecture which houses them. Only by adapting to these new pressures can these religious organizations hope to remain relevant and active in the changing cultural climate where religious institutions and religious individuals are often greeted with skepticism and suspicion. Many religious institutions have already recognized this need for change. The manner in which they hold their services and reach out to the community has changed in response to new cultural mores and trends. Architecture, as the structure which houses these changing religious organizations, must adapt to these new situations as well. The architecture houses, and therefore must adapt to, the new processes and practices which must function within these institutions. Architecture however, must also take into account other facets of the organization beyond just these functions. It has the ability to achieve many other objectives which can support the ongoing goals of these contemporary religious institutions. Since architecture acts as one of the fundamental outward faces of these organizations, it has a major and fundamental influence upon how the public perceive a religious institution. It is the intent of this thesis to investigate how church architecture may facilitate community oriented goals. These goals include, but are not limited to: creating an environment where individual exploration of spirituality becomes an accepted part of community activities, promoting localized economic development, instilling within the community a sense of value and ownership to generate community pride and stakeholdership, increasing community outreach, and the development of other programs which activate and benefit the local area. With regards to the architectural exploration, the intention is to approach this by addressing questions concerning perception, style, outward appearance, proximity, and operation. This includes consideration of programmatic functions which, while they may not be inherent to churches, may be useful in generating community interaction and intersection. Additionally, architecture has certain psychological capabilities which may be utilized to address personal reservations regarding churches. By considering what architectural elements are symbolic of religious organizations and strategically employing or eliminating them, one can build upon or counter the impressions which may exist about what a church is or should be. The examination of these issues within the context of an abandoned local mill building expands the richness and potential for this type of investigation by exploring its fundamental contributions to the historic development of the community. By introducing a spiritual component to this historically secular building one alters associations and defuses potential misgivings, as well as highlights a more welcoming avenue for promoting spiritual exploration within the community. By promoting adjacency and proximity of everyday activities and beneficial programs to hospitable spiritual activities, the architecture has the potential to meld different uses together. Additionally, the community aspect of this project may have the capacity to expand, specifically when considering how architecture may have the potential to promote a spiritually open community. Furthermore, by considering these goals in the context of an abandoned mill building, it is hoped that parallels can be made between the historical significance of the structure, and that of religion; and that by studying the two in tandem one can elevate the status of both. The focus here is not upon elevating religion or history for their own sake but rather in lifting them up as symbols of the communities which they serve and using them to lead development and revitalization in their locations.

This manuscript focuses on performances of place and faith inside the Holy Land Experience (HLE), an edutainment complex nestled in the fantasy nexus of Orlando, Florida. A self-proclaimed living-history museum, the HLE includes animatronic Bible characters and musical dramas. The HLE enacts and embodies evangelical narratives of Christianity and Christian faith, and visitors to the park are asked to join the performances, blurring the distinctions between spectators and professional actors. I argue that visitors' performances of faith invest the space of the HLE with sacredness, while the location and design of the HLE infuses the space with elements of the secular. The HLE exemplifies the performative nature of the sacred and shows how sacredness is a process (a performance), not an inherent property. Through participant observation, interviews, and critical/cultural analysis, I engage the multiple meanings of the HLE with the intention of facilitating empathic understandings of the complex, embodied phenomenon of faith as it manifests in this hybrid space.

Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.

No description available.

On the Presence of Christ is a musical work for septet (three strings, three winds, percussion) exploring Christ’s presence throughout all time as described in Scripture, wherein the individual movements are thematically grounded and arranged from ancient past to coming future. “In the Beginning” is based on Genesis 1:1-2 and John 1:1-5; “At the Throne” is based on Revelation 4:2-11; and “With His Saints Forever” is based in Revelation 21:1-5a and 22-23. I use these chosen Scriptures to guide my musical exploration, allowing my reflections and perspectives on them to give this music its substance and form My hope is that this works points beyond my limited perspective concerning these Scriptures, and even the Scriptures themselves, to their divine source, and the goodness, beauty, and truth therein.

The subject of the thesis is the proposal of open-air museum of 20th century and the restoration of spiritual space in the place of the former village of Romava in south Bohemia.

No description available.

Although religious beliefs often associate with gendered hierarchy in sociological studies, very few studies have examined religion and gendered hierarchy within intimate relationships. This study used an exemplary sample to explore how religious, heterosexual married couples view and possibly practice gendered hierarchy. Interviews from 77 highly religious, highly satisfied couples provided insight into the following themes: (1) the potential harm of hierarchy, (2) misunderstanding hierarchy, (3) rejection of hierarchy, and (4) acceptance of hierarchy. For couples who expressed acceptance of hierarchy, further exploration revealed subthemes explaining how they conceptualized this practice. Subthemes included (4a) mutual submission, (4b) joint discussion, and (4c) the male burden of responsibility. Data drawn directly from interviews provide detailed support in the paper for each theme and subtheme. While a minority of participants described their marriages as equal partnerships, a majority of the couples in this sample expressed acceptance of some degree of gendered hierarchy in their relationships. Participants expressed devotion to God and belief in sacred roles as partial explanations for their acceptance of gendered hierarchy. For both participants who accepted and those who rejected hierarchy, the importance of love and respect between partners emerged as central to navigating power dynamics in marriage.

The first eight temple sites in Utah were studied to determine important geographical characteristics of each, and to test the hypothesis that Mormon temple sites conform to definitions of sacred space. President Brigham Young of the Church greatly influenced the selection of the first four temple sites, and the construction of each until his death in 1877. Claimed revelation from God to Young and other leaders and members of the Church, was evident concerning the temple sites. The later four temple sites of the twentieth century were approved by the First Presidency of the Church, but local Church leaders and members were involved more in the site selection and construction process than nineteenth century temple sites.The hypothesis was proven correct, by comparing sacred space definitions of various authors, with teachings and practices of the Church concerning its temple sites. In all comparisons, Mormon temple sites met the stated criteria of sacred space.