1,058 research outputs found
The historical imagination of Christopher Dawson
No full textChristopher Dawson (1889-1970) was one of his generation's most
important historians and religious thinkers, and was a significant
influence on many contemporaries including T.S. Eliot, C.S. Lewis,
and Russell Kirk. This dissertation is a study of his most
fundamental ideas concerning history and culture.
Chapter one examines Dawson’s sociological view of history.
Convinced that history was more than a scientific enterprise, he
believed that the true historian is one who reaches beyond the
material world to understand the essence of history’s dynamics. In
this way, the world can be conceptualized as a united whole,
separated by regional differences as a result of environment, race,
material, psychological, and religious factors. Dawson believed
that the political histories of the past several centuries failed to
grasp the undercurrents of historical change, and that the best way
to understand the past is to appreciate culture as an expression of
primeval religious traditions.
Chapter two treats Dawson’s understanding of progress. Dawson
was convinced that progress had become the “working-religion” of our
age. This secular faith, founded on scientific rationalism, first
pledged to fix the material failures of Western culture, but
unwittingly eroded its faith in God, and eventually, its moral
fiber. Dawson believed that true progress was progress of the soul
in its ordering toward the Creator.
Chapter three is a study of Dawson’s Christian, and more
specifically, his Catholic beliefs. Informed by religion, his
historical and cultural visions are not dogmatic, nor are they
polemical. He conceived of history as the unfolding of a divine
economy in the temporal world. Although Dawson is a proponent of
Roman Catholicism, his scholarship is an objective treatment of
history shaped by an undisguised, Christian worldview.
Additionally, the appendix is an introduction to Dawson’s life
and the circumstances surrounding his conversion to Roman
Catholicism. Particular attention is paid to the development of his
moral and historical imagination — both of which became intertwined to
form the basis of all of his scholarship
William Bruce a autorstwo „A relation of State of Polonia [...] Anno 1598”
No full textWilliam Bruce and the Authorship of ‘A Relation of State of Polonia [...] Anno 1598’ The article discusses the issue of the authorship of a description of Poland entitled ‘A Relation of State of Polonia and the United Provinces of that Crowne Anno 1598’, extant in manuscript form at the British Library. In spite of the dating to be found in the title, the Relation contains information relative to the period after 1600. The work is anonymous. Its appearance in print in 1965 launched a discussion concerning its hypothetical author. Most of the arguments brought out are connected with the analysis of the content and the linguistic aspects of the source; since it is difficult to ascertain whether the manuscript came from the author himself, its external form is omitted. The debate points to three possible authors, the first of whom is William Bruce, an itinerant Scottish lawyer, writer, soldier and diplomat, who appeared in Poland c. 1595 and was employed among others by Chancellor Jan Zamoyski. Bruce, nevertheless, retained contacts with the court in London, and since 1604 through 1610 acted as official agent of British merchants in the Polish–Lithuanian Commonwealth; in fact he was a representative of the Court of St. James in Poland. Ascribing the authorship to his person is strongly supported by the fact that he remained in the country for a prolonged period and knew it well, not to mention that seeking contact with the English court he needed to portray himself as a competent candidate for employment. Other potential authors of the Relation are English diplomats, who were sent to Poland towards the end of the 16th century: Sir George Carew envoy to Poland in 1598, and author of a description of France, the structure of which resembles the anonymous Relation, and Christopher Parkins, a less likely candidate.Kalinowska points out that unless new data is presented, it is impossible to discern which of the persons in question is the authentic author; there are serious arguments for and against each candidature. Nevertheless, the hypothesis forwarded by Antoni Mączak, according to which William Bruce, after writing the Relation, handed it over to George Carew, who took it with him back to England, inserting his own additions, is plausible. Kalinowska argues that the additions could also have been the work of Christopher Parkins, a former envoy to Poland, who would have included his remarks already in London.William Bruce and the Authorship of ‘A Relation of State of Polonia [...] Anno 1598’ The article discusses the issue of the authorship of a description of Poland entitled ‘A Relation of State of Polonia and the United Provinces of that Crowne Anno 1598’, extant in manuscript form at the British Library. In spite of the dating to be found in the title, the Relation contains information relative to the period after 1600. The work is anonymous. Its appearance in print in 1965 launched a discussion concerning its hypothetical author. Most of the arguments brought out are connected with the analysis of the content and the linguistic aspects of the source; since it is difficult to ascertain whether the manuscript came from the author himself, its external form is omitted. The debate points to three possible authors, the first of whom is William Bruce, an itinerant Scottish lawyer, writer, soldier and diplomat, who appeared in Poland c. 1595 and was employed among others by Chancellor Jan Zamoyski. Bruce, nevertheless, retained contacts with the court in London, and since 1604 through 1610 acted as official agent of British merchants in the Polish–Lithuanian Commonwealth; in fact he was a representative of the Court of St. James in Poland. Ascribing the authorship to his person is strongly supported by the fact that he remained in the country for a prolonged period and knew it well, not to mention that seeking contact with the English court he needed to portray himself as a competent candidate for employment. Other potential authors of the Relation are English diplomats, who were sent to Poland towards the end of the 16th century: Sir George Carew envoy to Poland in 1598, and author of a description of France, the structure of which resembles the anonymous Relation, and Christopher Parkins, a less likely candidate.Kalinowska points out that unless new data is presented, it is impossible to discern which of the persons in question is the authentic author; there are serious arguments for and against each candidature. Nevertheless, the hypothesis forwarded by Antoni Mączak, according to which William Bruce, after writing the Relation, handed it over to George Carew, who took it with him back to England, inserting his own additions, is plausible. Kalinowska argues that the additions could also have been the work of Christopher Parkins, a former envoy to Poland, who would have included his remarks already in London
Photograph of Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of dancers performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
Photograph of Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of dancers performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
Photograph of Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of dancers performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
Photograph of Mark Baldwin and Victoria Jestyn performing Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of Mark Baldwin and Victoria Jestyn performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
Photograph of Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of dancers performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
Photograph of Ghost Dances, Adelaide, SA, 1982.
No full textPhotograph of dancers performing Ghost Dances choreographed by Christopher Bruce and presented by Australian Dance Theatre in 1982. This performance was the Australian premiere at the Playhouse, Adelaide SA. This work featured dancers; Mark Baldwin, Robert Canning, Simone Clifford, Linda Gay, Mark Jeitner, Victoria Jestyn, Peter Lucadou-Wells, Vanessa McIntosh, Jacquie Murphy, John Nobbs, Susan Peacock, John Salisbury, and Claire Stonier. Costume Design; Belinda Scarlett. Lighting Design; Nick Chelton. Photograph by Grant Hancock
P450 aromatase expression and estradiol secretion in bovine granulosa cells in vitro
No full textThèse numérisée par la Direction des bibliothèques de l'Université de Montréal
The alternative within the mainstream: a critical analysis of some recent Irish films
No full textCentral to this thesis is the argument, espoused by a number o f our contemporary critics, that the success o f Angel (Neil Jordan, 1982) and My Left Foot (Jim Sheridan, 1989) resulted in a climate in which Irish filmmakers attempted to appeal to a more global market by adopting mainstream Hollywood formats at the expense o f the more experimental and socially critical cinema which had existed prior to 1987.
While primarily concerned with Irish cinema since the re-establishment o f the Film Board in 1993, the thesis sets out to investigate a number o f different strategies which Irish filmmakers have adopted in an attempt to infiltrate a market which has become totally dominated by mainstream American studio films. Its main concern is the extent to which they may be said to have successfully achieved a balance o f American style and Irish substance, in such a way that these films can be read as less definably “American” and more specifically “Irish”. Each o f the films proposed for examination is alternative, not in the classic sense o f "alternative’ or ‘counter-cinema’, but in the sense that they deviate from the more standardised approach o f much Irish cinema. The thesis is divided into two main sections
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