The presidial system was the focus for Spanish and Mexican military operations in northern New Spain. The Spanish established these garrisons to provide their settlers and missionaries protection from hostile indigenous tribes opposing expansion into their territories. Between 1692 and 1776, presidios were established on the Sonoran frontier at Fronteras, Terrenate, Horcasitas, Santa Cruz, Altar, Tubac, Bavispe, Bacoachi, and Tucson. The Spanish and Mexican governments never completely solved the problem of adequately supplying the Sonoran presidios with men and materials to achieve dominance over the native populations. These conditions left the presidios and civilian population exposed to attack and harrassment by hostile Indians. Examination of the major events concerning the presidios from 1790 to 1835, including the Apache pacification policies, establishment of "Indian" presidios, the Mexican war for independence, transfer from Spanish to Mexican control, and the study of presidial personnel, reveals how the presidio functioned as a major frontier institution.

This thesis explores the influence of Alexander Hamilton upon the administration of John Adams. It begins with the background of the conflict between Adams and Hamilton, continues through Adam's presidency and ends with the "death of the Federalist party."

Performances of Fitrabras and the other Schubert operas have been very rare. Parts of Fierrabras were given in concert form in Vienna in 1853 and again in 1858. The first stage production was in Karlsruhe, February 9, 1897, but the music was revised for that performance by 0. Neitzel and the text by F. Mottl. The text was translated into French for a production in Brussels in 1926. A concert version was also heard in London in 1938. None of these performances, with the possible exception of the one in Brussels, was in the original version. It has always been assumed that the work could not be performed as it stands; at any rate, no one has ever tried. True, there are certain problems in production, especially in the rapid shift of scenes in the third act, but modern stage technique could undoubtedly conquer such difficulties easily.

The arrangement of movements in the Grand Sonata in B flat follows traditional classical lines, as is true of almost all the Schubert sonatas. A complete structural analysis of the work reveals some modifications in the architecture of individual movements; this is especially evident in the first movement. The departures from usual treatment of first movement sonata form may be classified as follows: 1. Developmental procedures begin in the exposition. 2. The second subject begins in a distantly related key. 3. The development section stresses melodic treatment rather than contrapuntal technique. The second movement is in ternary form and exhibits little irregularity in structure. The movement is an excellent example of the employment of an accompaniment figure as a unifying element.

The significance of a complete analysis of Schubert's orchestral larger works is self-evident to musicians and scholars. In the literature today one may find adequate analysis of many of the larger choral and orchestral works of the various masters, but rarely is it possible for one to secure a scholarly and intelligent analysis and interpretation of the smaller forms, especially the vocal works. Perhaps the reason for this state is the lack of interest in many of the aspects and phases of song literature as vocalists and teachers have probably been more concerned with the artistic rendition of the songs rather than an academic approach. But with the turn of the present decade, a decided interest has become apparent in musicological scholarship and the present study is but one evidence of the trend toward critical and academic analysis of smaller forms heretofore omitted in music literature.

The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.

Magister Artium - MA / This thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but is not exclusively confined to them. The thesis will attempt to show that Victor and the Creature can be read as figures for the Enlightenment and the Romantic movements respectively. As several critics have noted, these fictional protagonists also represent the divergent elements of Percy Shelley’s own divided personality, as he was both a dedicated man of science and a radical Romantic poet. He is a figure who exemplifies the contrasting notions of the archetypal Enlightenment man, while simultaneously embodying the Romantic resistance to some aspects of that zeitgeist. Lately, there has been a resurgence of interest in the novel by contemporary authors, biographers and playwrights, who have responded to it in a range of literary forms. I will pay particular attention to Peter Ackroyd’s, The Casebook of Victor Frankenstein (2011), which shows that the questions Frankenstein poses to the reader are still with us today. I suggest that this is one of the main impulses behind this recent resurgence of interest in Mary Shelley’s novel. In particular, my thesis will explore the idea that the question of knowledge itself, and the scientific and moral limits which may apply to it, has a renewed urgency in early 21st century literature. In Frankenstein this is a central theme and is related to the figure of the “modern Prometheus”, which was the subtitle of Frankenstein, and which points to the ambitious figure who wishes to advance his own knowledge at all costs. I will consider this point by exploring the ways in which the tensions embodied by Percy Shelley and raised by the original novel are addressed in these contemporary texts. The renewed interest in these questions suggests that they remain pressing in our time, and continue to haunt us in our current society, not unlike the Creature in the novel.

1817 is the beginning of a period in Schubert's life, called his "years of crisis," when he was forming and asserting his personal and musical autonomy. His songs from this time concentrate on mythology and on the poetry of his friend Johann Mayrhofer. Thirteen mythological Mayrhofer-songs sing through the "I" of a mythological character and address a god for aid. This dissertation analyzes seven of these songs: Freiwilliges Versinken, Memnon, Philoktet, Der zürnenden Diana, Atys, Antigone und Oedip, and Der entsühnte Orest. Both Mayrhofer's poems and Schubert's songs present difficulties. Mayrhofer's language and treatment of myth occlude his poetry's meaning. Schubert's settings also obscure what they might communicate to readers or listeners through experimental formal, harmonic, and text-setting strategies. To discover the order and meaning behind the abstruse surfaces of the poems, music, and songs, I turn to four analytical perspectives immanent in Mayrhofer's poems. Though mythological on the surface, Mayrhofer's poems tell a Gnostic narrative of man's desire to unite with god. The poems are also masochistic: Mayrhofer's mythological heroes are all in pain, static, and devoted to a goddess. These two simultaneous subtexts exemplify the ambiguity of Mayrhofer's poetry, that it both keeps its meaning indistinct and means many things at once. Mayrhofer's use of mythology and Gnosticism direct us to Carl Jung's use of the same in his psychoanalytic researches into the self. Gnosticism, masochism, ambiguity, and the Jungian self are elements of Schubert's songs just as they are elements of Mayrhofer's poems. Each of the dissertation's four main chapters focuses on one of these concepts. In analysis, I give the greatest attention to the music, that is, how the music is Gnostic, masochistic, ambiguous, and psychologically self-expressive. The musical analyses are largely motivic, but also involve musical form, harmony, meter, genre, and vocal style. I understand song as a multiplicity, as an interaction of individual voices. Since each of the four analytical perspectives---as distinct as they are---says something about the relationship between the self and the other, they are means to assess the relationships resulting in song, and how meaning and understanding emerge from the interaction of multiple voices.

Understanding the Present examines the thematization of the historical present in nineteenth-century German literary texts. In theorizations of political literature, such as Jean-Paul Sartre’s writings on “committed literature,” an emphatic concept of the present is a given. Of course, the present is a notoriously elusive temporality. The texts discussed in this dissertation, rather than focusing on accurate sociological representations of the present or an intensive rhetorical engagement in its political discourse, interrogate how the present can be evoked in literature in the first place. Understanding the Present discusses the forms privileged by certain authors in the representation of the present – prose, periodicals, drama – as well as the paradoxes such approaches posed. Rather than discussing these texts in terms of “operative literature” or “committed literature,” which has been a trend in scholarship since the 1960s, this dissertation approaches the nineteenth century from the perspective of so-called Gegenwartsliteratur. It does not claim the successful or unsuccessful political intervention of these texts, but rather shows how their authors imagined a literary intervention in the political present could occur at all. Chapter one shows Ludwig Börne’s popular magazine Die Wage: Eine Zeitschrift für Bürgerleben, Wissenschaft und Kunst, not only as surreptitiously carrying barbs against state-sanctioned censorship, as is most common in studies of the periodical, but as following a program of political historiography. Börne’s text is therefore subversive at a structural level and presents a poetics of representing the present. Chapter two shows how Heinrich Heine used the republication of his political journalism to reflect on the essential dynamic of understanding the present whereby one can only comprehend contemporary events with reference to the past and future. Georg Büchner’s drama, Dantons Tod, the subject of chapter three, presents a paradox similar to Heine’s, but through a little observed aspect of his citational practice, which I call “internal citation.” By showing his characters wittingly and unwittingly quoting each other in the play and repeating certain gestures, Büchner draws out ambiguities of authorship in political discourse and raises important questions about the experience of the present. Together, these three texts contribute to the study of political literature by interrogating the central notion of the emphatic present in it.

by Liu Hoi-ying April. / Thesis submitted in: December 2003. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 111-113). / Abstracts in English and Chinese. / Preface --- p.i-v / Introduction --- p.1 / Chapter 1. --- Chapter one: The History of the Romantic Lied --- p.7 / Chapter 2. --- Chapter two: Literature Review --- p.24 / Chapter 3. --- Chapter three: Lieder Analyses --- p.46 / Chapter 4. --- Chapter four: Summary and Conclusion --- p.100 / Chapter 5. --- Selected Bibliography --- p.110 / Chapter 6. --- Appendix A: Statistics / Chapter - --- Table w: Lieder set by Schubert from 1811-1828; statistical information on setting method (strophic vs through-composed) --- p.113 / Chapter - --- Table x: Schubert's Lieder settings from 1811-1828 of Goethe's poems; statistical information on setting method (strophic vs through-composed) --- p.114 / Chapter - --- Table y: Chronological statistical analysis for setting method (strophic vs through-composed) and related poet for all Schubert's Lieder from 1811-1828. --- p.115 / Chapter - --- Table z: Loewe's strophic Lieder settings collected in Max Runze's edition4 --- p.124 / Chapter 7. --- Appendix B: English Translation of Goethe's poems --- p.127