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The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

The "Discours preliminaire" opening Francois-Xavier Garneau's Histoire du Canada depuis sa decouverte jusq'a nos jours in 1845 has often been held for a rather didactic discourse regarding the historian's methods. This thesis proposes a new reading of the text according to three different perspectives. We will first retrace, through eleven editions, the editorial history of the "Discours" and, by the same means, of Garneau's Histoire. This reconstitution more particularly reveals the impact of the Histoire on the public at its first publication and the successive readings' influence on the work's form. We will then analyse the ideological content of the "Discours preliminaire" and, lastly, taking into account recent studies on the art of the essay, consider its form. These two last efforts at grasping the specificity of the "Discours" reveal a text not of purely functional value, but one full of doubt and uncertainties which provides a vivid illustration of French Canada's crisis following the Union Act of 1840.

Transcending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. A critical approach to these writers that ignores the epistemic dimension in their works opens itself to the charge of misunderstanding their artistic goals and aspirations. In my dissertation I thus define, justify, and conduct an interdisciplinary study of Poe and Lem's works. / My project is underwritten by the epistemological assumption that literary works, and notably works of fiction, can make a contribution to knowledge that can be assessed in terms of interdisciplinary criteria. In the first chapter, where I discuss literature and knowledge within the interdisciplinary context, I examine various epistemological arguments in light of my central assertion. Next I examine the concepts involved in the discussion of literary works. Following the pragmatic re-orientation in literary and philosophical aesthetics, many fundamental concepts we take for granted--artworks, fictions, and texts among them--require exact re-examination and definition. Consequently, in Chapters Two and Three I review and refine the recent theories concerning the nature of works of art, the specificity of literary fictions, and the problem of literary interpretations. / My subsequent discussion of Poe and Lem is built on the theoretical base of (literary) epistemology and analytical aesthetics. I study Poe and Lem's literary fictions and theoretical essays, and the contributions they make to various fields of inquiry. In the process I critique, and sometimes refine, the explicit and implicit hypotheses articulated in their works. Specifically In Chapters Four and Five I discuss strategic and game theoretic models in the interpretation of fiction, including the concepts of communication and rationality. In Chapter Six, completing the epistemological circle inaugurated in Chapter One, I discuss the epistemological and cosmological theories proposed in Poe's "Eureka".

In this study of Mariano Jose de Larra's Articulos, it will be shown why Larra was not able to achieve his goal of improving the general lack of culture in Spain, which was, according to him, the biggest obstacle to progress. Larra, a liberal writer, wanted to help Spain become a liberal country, if necessary by revolution, which was to be brought about by his writings. He chose to write newspaper articles, a then still very new medium. Although celebrated for his biting satire, Larra's advice was not heeded. / The reasons for this are to be found in the special circumstances of the liberalization of Spain as well as personal circumstances of Larra, which will be addressed in the paper.

In 1909, the Revue musicale mensuelle de la Societe lnternationale de Musique (RSIM) asked six French composers (Debussy, Dukas, Hahn, d’Indy, Ravel and Wid or) to commemorate Haydn’s centennial anniversary of death by each creating a piano piece that incorporated a theme built with a letter-note correspondence on the word “Haydn”. In the context of the French fin-de-siecle search for musical identity, this collective tombeau represents a unique opportunity to discover what characteristics were important to them. My analysis of the pieces reveals five common elements: enharmonic reinterpretation as a means of exploration of foreign keys, large scale registral connections, dissonant chords for colour, ingenious means of creating unity, and use of past genres and form. The influence of Italian and German culture, as well as French music history and politics are also evaluated. The tom beaux reveal how central the concept of the music of the past was to French composers at the tum of the century and how it pointed the way to post-war neoclassicism. / En 1909, la Revue musicale mensuelle de la Société Internationale de Musique (RSIM) demanda à six compositeurs français (Debussy, Dukas, Hahn, d’Indy, Ravel et Widor) d’écrire chacun une pièce pour piano dans le but de commémorer le centième anniversaire de la mort d’Haydn. Leurs pièces devaient incorporer un thème imposé bâti via une correspondance entre des notes et les lettres du mot “Haydn”. Dans le contexte de la quête d’identité des Français de la fin du 1ge siècle, ce tombeau collectif représente une occasion unique de découvrir quelles caractéristiques musicales leur étaient importantes. L’analyse de ces pièces a permis d’isoler cinq éléments communs: réinterprétation enharmonique comme moyen d’exploration de tons éloignés, liaison de registres à grande échelle, utilisation d’accords dissonants dans le but d’obtenir une certaine couleur, moyens ingénieux de créer l’unité et usage de formes et de genres issus du passé. L’influence des cultures allemande et italienne ainsi que celle de l’histoire musicale de la France et de sa politique sont également évaluées. Les tombeaux révèlent l’importance qu’occupe la musique du passé pour les compositeurs français au tournant du 20e siècle et comment cette musique prépare l’avènement du néoclassicisme d’après-guerre.

This thesis evaluates the contribution of Charles Chiniquy (1809-1899) to the religious life of French Canada in the latter half of the nineteenth century. Once a Roman Catholic priest, he converted to "Bible" Christianity and became a Presbyterian minister. The fluid intellectual context between the liberal "Rouge" and conservative "Bleu" elements in French Canadian society is briefly described to explain his conversion. Then, his anti-Catholic, invective - filled works from 1875 to 1900 are studied to discover his contributions to and his observations of the religious mentalities of late 19th-century North America. One finds the concepts of rhetorical repetition and expansion, a projection of moral misconduct, and a "paranoid" mindset fearful of conspiracies. / Cette thèse évalue la contribution de Charles Chiniquy (1809-1899) a la vie religieuse du Canada français dans la dernière moitie du 19e siècle. Prêtre catholique, il est devenu pasteur presbytérien par la voie d'une conversion au christianisme dit biblique. Le contexte intellectuel et fluide entre les éléments libéraux "rouges" et conservateurs "bleus" de la société canadienne-française est décrit rapidement pour expliquer sa conversion. Ensuite, ses livres anticatholiques et pleins d'invectives, de 1875 a 1900, sont étudiés pour découvrir ses apports et ses observations sur les mentalités religieuses de la fin du 19e siècle en Amérique du Nord. Nous trouvons les catégories d'amplification et de repetition rhétorique, de projection de mauvaise conduite morale, et d'un penchant intellectuel "paranoTaque" redoutant les conspirations. fr

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Habilitationsschrift, Bonn. / Bibliography: p. 177-188.

Thesis (doctoral)--Universitetet i Linköping, 1991. / Extra t.p. with thesis statement inserted. Abstract and summary in English. Includes bibliographical references (p. 235-244) and index.