Thesis advisor: Boyd Taylor Coolman / Richard of St. Victor is known primarily for two arguments from his book On the Trinity. The first is that the relationship between the Father, Son, and Holy Spirit can be understood from the logic of love, which tends toward sharing with others. The second is that a divine person (persona) is an “individual existence of a divine nature,” a revision of the definition of personhood given centuries earlier by Boethius. Fewer contemporary theologians are familiar with the third major innovation Richard makes in this work. In his description of love among the trinitarian persons, Richard organizes the three loving divine persons according to three modes of loving: gratuitous love (amor gratuitus) identical with the Father, owed love (amor debitus) identical with the Holy Spirit, and love mixed from both (amor permixtus) identical with the Son. The most striking—because the most apparently problematic—part of this scheme is the nomination of amor debitus, owed love, as a mode of loving proper to the Trinity. Presenting the apparently contradictory combination of owing and loving as a love proper to God as God, the conundra raised by Richard’s use of this phrase were interpreted away by his scholastic readers in a way that buried the potential of his insight for discussions about the nature of love called divine. My dissertation analyzes the meaning of amor debitus to reframe and re-present Richard’s arguments in On the Trinity with Richard’s radical claim about the nature of intra-trinitarian love in clearer view. I argue that the notion of owed love represents a class of experience which is distinct both from the obligation of a command (typically associated with debitum) and from the freedom of an unaffected choice (typically associated with amor). Amor debitus fuses the quality of the command or commanding conditions with a freedom that is not intrinsic to these prior conditions, but does not leave them behind. Richard’s link between owed love as a personal property in the Trinity and as the norm of human love for God gives Richard a fresh approach to the idea that “God’s love has been poured out into our hearts through the Holy Spirit” (Rom. 5:5), and therefore also to the longstanding Christian claim that human love is owed to God, ordered to neighborly service, and free. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Este trabalho trata do monumento Duque de Caxias, na cidade de São Paulo, de autoria do escultor modernista Victor Brecheret. A análise do monumento é pautada na iconografia, em documentos inéditos sobre o projeto e a execução do monumento, além da literatura relacionada. Tal análise discute como a concepção, a execução e a implantação desse monumento, bem como sua opacidade no contexto urbano atual, foram influenciados pela metropolização e modernização da cidade de São Paulo, pelos processos de invenção de tradição e de busca de identidade, e pelas oscilações político-ideológicas durante a primeira metade do século XX, bem como pelas raízes militares do projeto. A mencionada opacidade é ressaltada, principalmente quando se observa outro monumento do autor - executado no mesmo período - e até hoje, um símbolo de São Paulo, o monumento às Bandeiras. / This dissertation concerns the monument Duque de Caxias in the city of São Paulo, by the modernist sculptor Victor Brecheret. The analysis of the monument is based on its iconography, on newly found documents about the project and the creation of the monument, as well as related literature. This analysis discusses the conception, creation, and integration of the monument, as well as its opacity in the current urban context. It also shows how these aspects were influenced by the development and modernization of the city of São Paulo, by the process of making an national identity, by invention of tradition, by changes in political and ideological views during the first half of the twentieth century, as well as by the military roots of the project. The opacity mentioned above is emphasized, particularly when it is compared with another monument by the same sculptor, created in the same period, and until today a symbol of São Paulo - the monument às Bandeiras.

Durante a segunda metade do século XIX e início do século XX, o intenso processo de industrialização implicou em uma série de modificações na organização do espaço através de inovações técnicas e estéticas associadas à emergente realidade urbana-industrial. Como consequência houve uma alteração nos modos de pensar a arquitetura, com novos conceitos e práticas julgadas como melhor adequadas ao mundo industrial. Esse panorama de transformações e experimentações formais e estéticas associou-se na arquitetura, entre outras coisas, à difusão do art nouveau. A pesquisa estuda um dos principais exemplares da tendência construído no Brasil: a Estação Ferroviária de Mairinque, projetada pelo arquiteto francês Victor Dubugras (1868 - 1933). Investiga a trajetória do projeto concepção arquitetônica, arranjo dos espaços internos, implantação e detalhamento e a trajetória do prédio construído intervenções realizadas, iniciativas de preservação e condições de conservação. Mostra que os registros do desenvolvimento do projeto revelam tanto a constância de alguns procedimentos, como também a manipulação e modificação de soluções determinantes para a aquisição de seu esmero técnico e plástico. Verifica que apesar da preservação do arcabouço geral da construção, da efetivação da proteção legal por diferentes esferas patrimoniais e das perspectivas de restauro, condicionantes importantes do projeto arquitetônico e das relações do prédio com seu acesso e entorno foram alteradas. / During the second half of the nineteenth century and early twentieth century, the intense industrialization process lead to a series of modifications in the organization of the space through technical and aesthetic innovations associated with the emerging industrial reality. As consequence, there were changes in ways of thinking about architecture, in a search for new concepts and practices that would be a better fit to the industrial city scenario. This panorama of transformations and formal and aesthetic experimentation was incorporated in architecture, among other things, through the Art Nouveau. The research studies of one of the main examples of these trends Brazil: The Mairinque Railroad Station, design by the francoargentine architect Victor Dubugras (1868-1933). Investigates the trajectory of the design architectural conception, organization of the internal spaces, the site planning and the detailing and the trajectory of the building interventions, conservation initiatives and conservation conditions. It shows that the records of the designs development reveal both the constancy of some procedures, as well as the manipulation and modification of solutions that define the acquisition of technical and plastic refinement. It verifies that despite the preservation of the general framework of construction, the effective legal protection by different patrimonial spheres and the prospects of restoration, important constraints of the architectural design and the relations of the building with its access and surroundings have been altered.

Este estudo da presença de Victor Hugo em A Pata da Gazela, de José de Alencar, objetiva analisar como o conceito de grotesco, teorizado pelo escritor francês no prefácio de Cromwell, experimentado e trabalhado em Han dIslande, Notre-Dame de Paris e Lhomme qui rit, teria sido adaptado por Alencar, escritor de relevante importância para a formação da Literatura Brasileira que faz menção em seu romance a duas criaturas monstruosas de Victor Hugo: Gwynplaine e Quasimodo. Para isso, propomos um olhar para a sociedade francesa e brasileira do século XIX, no intuito de verificar como se deu a contribuição hugoana. / This study of Victor Hugos presence in A Pata da Gazela by José de Alencar, aims to analyze how the concept of grotesque, that was theorized by the French writer in the preface of Cromwell, experienced and worked in Han dIslande, Notre-Dame de Paris and Lhomme qui rit, would have been adapted by Alencar, an important writer for the formation of the Brazilian Literature, who mentions in his novels two monstrous creatures of Victor Hugos: Gwynplaine and Quasimodo. In order to do that, we propose a look to the French and Brazilian societies of the nineteenth-century, to check how important Hugo\'s contribution is.

Cette étude porte sur la représentation de la déformation du corps humain, afin de défendre l’idée que ces exemples de corps déformés ont fini par engendrer de nouvelles recherches et des transgressions artistiques qui caractérisent le XIXe siècle français. Les œuvres de Hugo et de Ingres ont été choisies en raison de la richesse symbolique qu'y acquiert la déformation du corps humain, au confluent de plusieurs traditions mythologiques. Pour l’étude des corps déformés et de leur rôle dans la cosmogonie hugolienne, nous nous servirons d’une cosmogonie analogue : celle de Dante Alighieri qui a pu nourrir l’imaginaire hugolien auquel nous ajoutons le labyrinthe existentiel. Méthodologiquement, cette analyse sera faite à partir de la lecture de l’espace proposée par Greimas. Les axes orthogonaux y sont marqués par les personnages en établissant des emplacements spécifiques qui indiquent un langage à déchiffrer. Dans l’œuvre d’Ingres, notre but sera de mettre en relief la déformation du corps en tant que travail esthétique pour la révélation de la beauté plastique. La déformation anatomique caractérise déjà ses premiers personnages masculins et marque davantage ses figures féminines que nous étudierons plus en détail. Pour affiner cette démarche nous avons établi certaines relations avec d’autres peintres tels que son maître David, ou bien avec des sculpteurs comme son ami Lorenzo Bartolini, James Pradier et des écrivains comme Théophile Gautier et Hugo. Cette recherche s’appuiera sur plusieurs supports théoriques, indispensables pour s’orienter dans cet univers riche de références à l’Antique, au mythologique, au religieux, au sacré, au politique, au social, à l’artistique, au fantastique et au fantasmagorique. C’est pourquoi Phidias, Vitruve, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Claude Lévi-Strauss, Michel Foucault, Umberto Eco entre autres sont évoqués pour aider à la compréhension de notre étude. / This study focuses on the representation of the deformation of the human body, arguing that these examples of physical deformity have eventually engendered new research and artistic transgressions that characterise nineteenth century France.The works of Hugo and Ingres are focused upon on account of the symbolic richness derived from them with regard to the deformation of the human body, and the confluence of several mythological traditions. For the study of deformed bodies and their role in Hugo's cosmogony, we will use a similar analogous cosmogony: that of Dante Alighieri, which was able to feed the Hugolian imagination and to which we add the existential labyrinth. Methodologically, this analysis will be made by reading the space proposed by Greimas. Orthogonal axes are marked by characters in establishing specific locations that indicate a language to decipher. Regarding the work of Ingres, our goal is to highlight the deformation of the body as a work of aesthetics for the revelation of plastic beauty. Anatomical deformation already characterises his first masculine characters and mark still further his female figures which we have studied in more detail. To refine this approach we have established some relationships with other painters such as David, Ingres' Master, and with his friends the sculptors Lorenzo Bartolini, James Pradier and also with writers such as Théophile Gautier and Hugo. This research is based on several theoretical sources, they are essential to orient this rich universe of references to the Antique, the mythological, the religious, the sacred, the political, the social, the arts, and fantasy. This is why Phidias, Vitruvius, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Lévi-Strauss, Michel Foucault, Umberto Eco among others are also discussed to help the understanding of our study.

This thesis examines how Christianity and citizenship shaped the ideology of Eugene Debs, the most popular radical in Progressive Era America. It argues that scholars have failed to conduct a thorough exploration of Debs' religious thought. This thesis also challenges the belief among historians that Debs' Christianity was a variant of the alternative Americanism he used to legitimate his agitation against industrial capitalism. This misconception has led historians to follow the lead of Nick Salvatore and conclude that Debs' Christianity was merely an aspect of his attempt to renew the values of republican citizenship associated with the American Revolution. A more accurate representation is that the concept of citizenship formed the core of Debs' ideology as a trade and industrial unionist, but that he found citizenship to be too restrictive and turned to Christianity to address the concerns of humanity and civilization as a socialist. / Department of History

Cette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition. / This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician.

Autour de 1950, des artistes londoniens – Kenneth Martin, Mary Martin, Adrian Heath, Anthony Hill – adoptent l’abstraction géométrique, suivant l’exemple de Victor Pasmore, célèbre jusqu’alors pour sa peinture figurative. Malgré une proximité formelle avec le néoplasticisme de Ben Nicholson, leurs œuvres appartiennent à une autre tradition déduite de l’École de Paris et nourrie de références anglaises. Ce groupe ne se définit pas contre les valeurs dominantes de son époque, mais participe pleinement à l’idéologie de la reconstruction. Il se distingue progressivement de l’école de Saint Ives qui lui avait été associée pour se rapprocher de l’Independent Group au milieu des années 1950. En 1957, le critique d’art Lawrence Alloway voit dans ce groupe l’avènement d’un nouveau constructivisme vierge des implications architecturales de son antécédent historique. C’est, en fait, dans l’importance accordée à l’expérience physique de l’œuvre dans l’espace que ces artistes manifestent leur contemporanéité. / In the 1950’s a group of London artists – Kenneth Martin, Mary Martin, Adrian Heath and Anthony Hill – adopted a geometric abstract art, following the example of Victor Pasmore, famous until then for his figurative painting. Despite some formal proximity with Ben Nicholson’s Neoplasticism, their works belong to another tradition derived from the “School of Paris” with specifically English references.The group is not defined as being against the dominant values of its era: it plays a fully-fledged part in the ideology of reconstruction. It strayed from the Saint-Ives School of painters to which it had been associated, and came closer to the Independent Group in the mid 1950’s.The art critic Lawrence Alloway described it in 1957 as marking the advent of a new Constructivism, free of the architectural implications of its historical antecedent. Yet it is in their focus on the physical experience of the work of art in space that their contemporaneity is obvious.

Este trabalho trata do monumento Duque de Caxias, na cidade de São Paulo, de autoria do escultor modernista Victor Brecheret. A análise do monumento é pautada na iconografia, em documentos inéditos sobre o projeto e a execução do monumento, além da literatura relacionada. Tal análise discute como a concepção, a execução e a implantação desse monumento, bem como sua opacidade no contexto urbano atual, foram influenciados pela metropolização e modernização da cidade de São Paulo, pelos processos de invenção de tradição e de busca de identidade, e pelas oscilações político-ideológicas durante a primeira metade do século XX, bem como pelas raízes militares do projeto. A mencionada opacidade é ressaltada, principalmente quando se observa outro monumento do autor - executado no mesmo período - e até hoje, um símbolo de São Paulo, o monumento às Bandeiras. / This dissertation concerns the monument Duque de Caxias in the city of São Paulo, by the modernist sculptor Victor Brecheret. The analysis of the monument is based on its iconography, on newly found documents about the project and the creation of the monument, as well as related literature. This analysis discusses the conception, creation, and integration of the monument, as well as its opacity in the current urban context. It also shows how these aspects were influenced by the development and modernization of the city of São Paulo, by the process of making an national identity, by invention of tradition, by changes in political and ideological views during the first half of the twentieth century, as well as by the military roots of the project. The opacity mentioned above is emphasized, particularly when it is compared with another monument by the same sculptor, created in the same period, and until today a symbol of São Paulo - the monument às Bandeiras.