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Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Joseph R. Higgins. Dissertation Committee: Ronald E. De Meersman. Includes bibliographical references: (leaves 124-155).

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This thesis reads individual affects in the compositions of Edward Lear, Thomas Stearns Eliot, and Stevie Smith. My central question is the extent to which compositions can be driven by, perform, and treat affect. In exploring how rhythmical tendencies ally with the representations of affect in poets’ published verses and unpublished manuscripts, I investigate how feelings are patterned and performed by poets and their poems. My research method combines close reading and biographical research with examinations of unpublished archival materials housed in the Houghton Library in Harvard, Berg Collection in New York, and McFarlin Library in Tulsa. The three types of affect I examine are: tears in Edward Lear (chapter one), nerves in T. S. Eliot (chapter two), and aggression in Stevie Smith (chapter three). Each chapter is divided into three sections and a fourth concluding section. These are chronologically as well as thematically shaped to follow the progress of a life as it comes to terms with affect in writing. In Chapter One, Lear’s Tears: ‘Breaking’ looks at moments of emotional rupture or bursting in Lear’s verses; ‘Private melody’ explores how tearfulness is secreted into and by his compositions; ‘Turtle, you shall carry me’ examines Lear’s dramatisation of rhythm as carrying us through upset; and ‘Too deep for tears’ contemplates Lear’s playful surfaces as leading us unknowingly into tearful depths. In Chapter Two, Eliot’s Nerves: ‘Early jitters’ looks at Eliot’s rhythms as dramatising moments of nervous crisis in the Inventions of the March Hare drafts; ‘Nerves in patterns’ explores how he develops this technique throughout the 1920s as influenced by his personal, theoretical, and socio-medical context; ‘Sickly vehicle’ questions whether The Waste Land drafts dramatise nervous breakdown and its treatment; and ‘When words fail’ explores Eliot’s apprehension of rhythm as a way ‘to report of things unknown’ and ‘to express the inexpressible’. In Chapter Three, Smith’s Scratches: ‘Beast within’ looks at how Smith considers her Muse to be an aggressive other that scratches for release from within her; ‘Scratching out’ examines how fantasies of violence are played out in her verses to bring her ‘ease’; ‘Too low for words’ explores how off-kilter rhythms dramatise ‘mental disequilibrium’ in her writing after 1953; and ‘Darker I move’ uncovers, through a close examination of Smith’s dying rhythms, that her music lay deeper than her words. In my afterword on disorder and dancing, I argue that these discoveries illuminate our understanding of poetics, at whose heart lies a mysterious acknowledgment of the psychosomatic nature of expression and its drive to release and re-form thoughts and feelings. If poetic rhythm can dramatise attempts to articulate and control affect, then affect moves the human creature and its language in the same way as rhythms move through bodies of poetry. This small-scale observation has large-scale implications for literary practice as feeding on psychosomatic disorder while crafting compositions of thoughts and feelings lying beyond human articulation and comprehension.

Circadian clocks are present in most eukaryotes and some prokaryotes and control rhythms in behavior, physiology and gene expression. One well-characterized circadian clock is that of Neurospora crassa. In addition to the well-described N. crassa FRQ/WCC oscillator, several lines of evidence have implied the presence of other oscillators which may have important functions in the N. crassa circadian clock system. However, the molecular details are only known for the core FRQ/WCC oscillator. The light mutant oscillator (LMO) was identified by two mutations (LM-1 and LM-2) and shown to control developmental rhythms in constant light (LL), conditions in which the FRQ/WCC oscillator is not functional. The objective of this project was to determine whether the developmental rhythms driven by the LMO are circadian, whether the components of the LMO communicate with components of the FRQ/WCC oscillator, and to begin to define the molecular nature of the LMO. First, the conditions for growth of the LM-1 mutant strain that reveals the best circadian rhythm of development in LL were found. Second, the LMO was determined to display the three properties required of a circadian oscillator. Third, the LMO was shown to function independently of the FRQ/WCC oscillator to control developmental rhythms in LL. However, evidence suggests that the FRQ/WCC oscillator and the LMO communicate with each other. Finally, using Cleaved Amplified Polymorphic Sequence (CAPS) markers, the LM-1 mutation was genetically mapped to the right arm of linkage group I within a 1069 kb region. Together, these results provide a start towards understanding of the complexity of oscillators that form a circadian clock in organisms.