The purpose of this study was to analyze and assess the attitude of Lincoln and Congress toward emancipation of slaves during the Civil War.Hypotheses1. Abraham Lincoln, as the sixteenth President of the United States, was determined to preserve the Union and to preserve slavery where it existed.2. The Thirty-Seventh Congress of the United States was determined to preserve the Union and to preserve slavery where it existed.3. Lincoln showed enthusiasm toward emancipation of slaves.4. Lincoln was sensitive to the needs and desires of freed slaves.5. The Emancipation Proclamation freed slaves.Historical FindingsThe five historical hypotheses evaluated in this study reveal significant information and they are explained below:1. Abraham Lincoln, as the sixteenth President of the United States, was determined to save the Union. Therefore, the hypothesis that Abraham Lincoln, as the sixteenth President of the United States, was determined to abolish slavery is historically rejected.2. The Thirty-Seventh Congress of the United States was determined to save the Union. Therefore, the hypothesis that the Thirty-Seventh Congress of the United States was determined to abolish slavery is historically rejected.3. Lincoln showed enthusiasm toward gradual emancipation of slaves with compensation. Therefore, the hypothesis that Lincoln showed enthusiasm toward outright emancipation of slaves is historically rejected. 4. Lincoln was not sensitive to the needs and desires of Negroes, because this concern was overshadowed by his immediate desires to retain the Union. Therefore, the hypothesis that Lincoln was sensitive to the needs and desires of Negroes is historically rejected.5. The Emancipation Proclamation did not free slaves because of the following three reasons:(1) the Emancipation Proclamation applied to slaves in areas still under the control of the Confederacy; (2) the limitations of the Emancipation Proclamation made it a paper tiger; (3) the Emancipation Proclamation applied to slaves located where it had no power to execute its provisions.

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

This thesis has applied three modern American foreign policy decision-making models---borrowed from John Spanier and Eric M. Uslaner, How American Foreien Policy Is Made---to the foreign policy of the United States toward France in the period 1793-1800.The intent of the study was to determine the validity of the models, to offer explanations for any contradictions between the models and the test case, and to provide some insights into early American foreign policy decision-making.

No description available.

0. L'assumpte de la recerca efectuada es troba formulat en el títol amb què es presenta i al.ludeix a tres temàtiques: la temàtica de l'idealisme, la de la lògica transcendental i, per últim, també la de la problemàtica conjunció de l'idealisme i la lògica transcendental. El camp de problemes delimitat per aquesta conjunció configura l'objecte d'una possible recerca sistemàtica, i el seu resultat hauria de contribuir a l'esclariment històric i filosòfic alhora de l'idealisme i de la lògica transcendental. Però la meva recerca no ha volgut lliurar-se a tal examen sistemàtic sense obrir un "momentum" reflexiu previ referit a les condicions de la seva possibilitat mateixa. D'aquí que la recerca hagi de ser considerada i valorada com a preliminar a la recerca de l'idealisme i la lògica transcendental, és a dir, com a lliure exploració dels problemes que desfermen les preguntes què és l'idealisme i què és la lògica transcendental. Aspecte inherent al "momentum" reflexiu, qualsevol assaig de resposta a les qüestions proposades contindrà ineludiblement - o fins constituirà fonamentalment - una clarificació de les preguntes mateixes com també de la via seguint la qual han de ser recercades (i recercades) les respostes.I. 1. En la línia indicada d'una clarificació de les condicions de la pregunta i la reposta a la qüestió que demana per l'idealisme avança la primera part del treball - amb el títol "Narratives de l'dealisme".2. Una recerca preliminar té en l'idealisme, abans que res, una categoria historiogràfica qüestionada: de manera potser inadvertida, l'idealisme alemany ha estat progressivament empès al domini de la mitologia. A partir d'aquí una recerca preliminar de l'idealisme havia de plantejar-se com a tasca primera i indispensable mirar d'explicar com ha arribat a constituir-se el mite - o això que, almenys, se li presenta com a mite.3. La primera part del meu treball realitza. així doncs, incursions en un nombre determinat de treballs filosòfics i històrico-filosòfics que poden valer com a arquetips d'estructuració de la categoria historiogràfica de l'idealisme alemany. Aquests treballs aspiren, sens dubte, a efectuar la seva estructuració mitjançant un plantejament filosòfic, és a dir, dotant d'un contingut teòric l'idealisme, i qualsevol tasca enfront d'aquests treballs passa, per tant, per una anàlisi del seu contingut, però el meu punt de vista no ha estat (o almenys no ha volgut ser) prioritlriament el d'una valoració teòrica de tals continguts.4. En relació a aquests reconstruccions de l'idealisme diré que, en general, he partit de l'examen dels seus continguts a fi de fer-ne sorgir el seu model estructurador. El resultat de la meva recerca és mostrar que hi ha un nombre en principi finit determinable de models estructuradors en el marc d'una determinada concepció que anomeno "narrativa" de l'idealisme.5. ¿En què consisteix la concepció narrativa? L'idealisme alemany es considera UN SISTEMA FlLOSÒFIC i el seu esclariment s'identifica amb una explicació o reconstrucció de la gènesi i el desenvolupament d'un argument teòric.6. La tesi es proposa mostrar que el terreny fonamental dels debats de la historiografia filosòfica sobre l'idealisme queda definit per aquesta estructura formal i que ella, tant considerada en si mateixa com en l'estructuració del contingut que determina és inapropiada. La recerca actual avança, de fet, sobre la base de la impossibilitat de reescriure narrativament l'idealisme alemany, però aquesta dificultat és de naturalesa doble: pràctica i teòrica.7. La impossibilitat teòrica de reescriure narrativament l'idealisme no es troba prou clarificada ni justificada en la consciència historiogràfica contemporània. Renunciar a escriure narratives perquè ja no pot abastar-se d'un cop d'ull la totalitat de l'objecte no significa renunciar a la concepció narrativa per principi i per convicció. Això segon no pot fer-se més que per una acte exprès de contestació no d'aquesta o aquella narrativa sinó de la narrativa com a tal.8. La meva contestació a la narrativa s'expressa en el treball a través d'un capítol on presento conclusions per a començar. La continuïtat adscribible a l'idealisme no ha de ser concebuda com a descabdellament d'una identitat teòrica. com a gènesi i desenvolupament d'un sistema sinó com una continuïtat discreta, aquella continuïtat que configura l'evolució marcada per diversos sistemes filosòfics. Així compresa, la recerca històrica-filosòfica sobre l'idealisme es proposa com a recerca en un horitzó (obert, problemàtic i complex) irreductible al camí que en ell pugui ser resseguit com a traçat per la reflexió d'una sola filosofia idealista.II.9. En la segona part del treball, titulada "En l'horitzó històric i filosòfic de la lògica transcendental" he efectuat una consideració igualment preliminar de la problemàtica de la lògica transcendental. Les qüestions principals abordades en aquesta recerca són: (a) la qüestió del significat de la lògica transcendental; (b) una justificació de la lògica transcendental com a possible fil conductor de la reconstrucció de l'idealisme; i hi podriem afegir encara (c) la precisió de l'encaix o relació entre idealisme i lògica transcendental, entre les dues parts del meu treball.10. També en la qüestió (a) del significat de la lògica transcendental he tingut contramodels - si bé he preferit deixar-los implícits. L'existència mateixa d'aquests models, d'una diversitat de definicions del concepte buscat, posa de relleu la importància d'arribar a esbrinar, d'acord amb les coordenades d'una recerca preliminar, com calgui arribar a guanyar el significat de la lògica transcendental.11. Per a l'obtenció del significat de la lògica transcendental he mirat de construir el seu preconcepte. Prenent la denominació filosòfica mateixa com a punt de partida he mirat de remuntar fins a la problemàtica històrico-filosòfica a la llum de la qual la nova lògica ha de prendre el seu sentit.12. El preconcepte de la lògica transcendental queda construït a partir de la comprensió històrica-filosòfica del lògic i del transcendental en la nofió d'una primera ciència que és alhora una ciència primera. En l'entrecreuament dels conceptes "lògic" i "transcendental" s'anuncia una radicalització metafísica de la problemàtica lògica com a via de resolució de la problemàtica que exhibeixen el lògic i el transcendental en el pensament filosofic de la "Aufklärung".13. El pas següent (b) ha estat el d'assegurar que tal preconcepte té ancoratge històric, que l'anunci d'una lògica ontològica contingut en la denominació precedéis l'assaig efectiu de realització d'aquesta lògica en un concepte de lògica transcendental. La recerca d'aquesta garantia ha portat a examinar la construcció del concepte de lògica transcendental en la "Crítica de la raó pura" de Kant.14. A partir de la conseqüència metodològica de la Crítica teòrica queda oberta la perspectiva que crec fa accessible la construcció del concepte de lògica transcendental de Kant. Si aquesta teoria parteix de determinats pressupòsits és només a fi d'esclarir-ne el seu caràcter i la seva estructura i a fi de pensar-ne la necessitat mateixa de la seva pressuposició. La lògica transcendental de Kant es proposaria així com una reflexió dirigida cap als seus propis pressupòsits (en un cercle característic) - i empesa per la radicalitat de la seva intenció reflexiva aspiraria a justificar més fins i tot que la possibilitat d'aquest cercle la seva necessitat.15. Resta, per últim, la dificultat que pot plantejar-se ara com interna al meu plantejament, que amb una sumària exploració de la filosofia teòrica de Kant pugui quedar explicada i justificada la lògica transcendental en quant preconcepte com a fil conductor per a la reconstrucció de l'idealisme. Tofant a aquesta qüestió (c), cal dir que una justificació plena i positiva l'he obtinguda només de la circumstància que caldrà començar en Kant. Però a més ha pogut ser prospectat temptativament el preconcepte de la lògica transcendental com a possible fil conductor també per al postkantisme.16. En conclusió, la lògica transcendental com a fil conductor d'una reconstrucción històrico-filosòfica de l'idealisme és preconcepte i la seva aplicació consistirà bàsicament en guiar l'examen de la discussió filosòfica que ha suscitat la possibilitat d'efectuar transicions des d'aquest preconcepte a la definició i realització de conceptes històricament verificables. Però una recerca de l'idealisme i la lògica transcendental no inscrita en un esquema narratiu sinó en un horitzó obert, un horitzó que fa de l'idealisme la idea i l'ideal d'una totalitat per configurar, es presentarà amb la prudència de no pretendre exbaurir aquell horitzó i ni tan sols de lofalitzar-ne el seu centre. Ja que dir que aquesta temàtica és essencial a a la definició de l'idealisme queda molt lluny, fins i tot infinitament lluny, de l'afirmació que aquesta temàtica constitueixi l'essència de l'idealisme. / "Idealism and transcendental Logic" constitutes the field of a possible systematic research in modern Philosophy History. Such field presents itself defined by the conjugation of two different concepts -"Idealism", "Transcendental logic" - that are the object of discussion in current historical and philosophical literature. The traditional view of German Idealism as a three-step philosophical profess which would in full consequence be carried out in the philosophies of Fichte, Schelling and Hegel has long been denounced as basically "Hegelian" and abandoned. The central question remains which philosophical systems should then be taken into account and on which grounds in the study of the period. Similarly, it is far from clear the philosophical meaning of transcendental Logic, as it can be shown when attempting either to answer this question or even specifying its sense from the diverse theoretical starting points established by Kant's theoretical "Kritik", Reinhold's "Elementarphilosophie", Fichte's "Wissenschafisehre" or Hegel's "Wissenschaft der Logik", to summon up only a few of the numerous, in a broad sense logical works of that time. It must be asked whether or not Idealistic thinkers have developed the same kind of logic and what are the conditions under which such an undertaking might be taken as a leading argument for the deconstruction of German Idealism.Hence the present work aims at clarifying the crucial concepts on which a systematic study of «Idealism and transcendental Logic» necessarily relies and for this reason it proposes to conduct a "preliminary" research of its theme.The text appears divided in two parts -entitled "Narratives on Idealism" and "On the Historical and Philosophical Horizon of Transcendental Logic"- which set to examine respectively the question of Idealism and the question of transcendental Logic. While the analysis is pursued in both pans in an independent fashion, a final conclusion seeks to connect them again by showing that even though the essence of the phenomenon of Idealism cannot be grasped without taking into consideration the discussion regarding the possibility of constructing a concept of transcendental logic, this argument would never account for the essence of German Idealism as such. This apparent paradox is pondered as the necessary basis for a "liminary" work on the subject.

Odilon Redon, The Visual Poet of Edgar Allan Poe: A Study of the Lithographic Album A Edgar Poe argues that the album A Edgar Poe, published in 1882, fundamentally alters Redon's artistic career. The thesis advocates the importance of Poe's writing to Redon's development, contending that the lithographic album confirms nineteenth-century literary and artistic interest in Poe. The thesis maintains that, while Redon subsequently attempted to disassociate himself from the American writer, his art was recognized and admired for its Poe-esque visions. Chapter One examines Edgar Allan Poe's influence on the nineteenth-century French artistic and literary avant-garde. The chapter argues that the artistic and spiritual resemblance between Poe and Redon facilitates the design the lithographic album A Edgar Poe, a work Redon uses to promote his own standing as an artist. Through examination of the original plates of the lithographic album A Edgar Poe at The Art Institute of Chicago, Chapter Two illustrates Poe's centrality to the evolution of Redon's art. Chapter Three argues for the importance of A Edgar Poe in Redon's oeuvre, contending that subsequent albums and commissions show the important role of literary art in Redon's artistic growth. The chapter demonstrates the significance of Redon's work to the Symbolist avant-garde of Brussels. Utilizing Andre Mellerio's notes, essays, collected letters and writings in the Ryerson & Burnham Library at the Art Institute of Chicago, the thesis argues that the album A Edgar Poe represents a pivotal stage in Redon's career through its dedication to a literary artist and the unification of art and poetry. Contending that the album develops themes prevalent in the noirs, the thesis illustrates the artistic resemblance and relationship between Poe and Redon and emphasizes the crucial role of Poe's work in Redon's progression and acceptance as an artist.

My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.

viii, 214 p. / In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate. / Committee in charge: Richard Stein, Chair; Tres Pyle, Member; Deborah Shapple, Member; Raymond Birn, Outside Member

Made available in DSpace on 2016-06-02T20:30:08Z (GMT). No. of bitstreams: 1 5550.pdf: 829503 bytes, checksum: 5da600d47e06b675663a17677f9bfdc6 (MD5) Previous issue date: 2013-08-30 / Financiadora de Estudos e Projetos / The theory of natural selection as one of the causal processes of Darwin s theory of evolution has impacted on fields of knowledge far beyond natural sciences. This extension the employment of the logic of selection in psychology and philosophy, as can be found in Popper and Skinner is usually defined as ultra-Darwinism. Darwin s ideas and their impact following the publication of The Origin of Species were approached through Ernst Mayr interpretation. The objectives of this study were: (1) to show Darwin s influence on the works of Popper and Skinner; and (2) to present a brief comparison between Popper and Skinner s points of view concerning with the fate of societies. The method employed was an aporetic one. The main results were: (1) The logic of selection makes it possible to find common epistemological features in the works of Popper and Skinner; (2) both authors hold that scientific knowledge is a means for the investigation of culture and cultural planning; (3) both authors agree that essentialistic theoretical beliefs are an obstacle for technological advances and cause of delay in the development of civilization; (4) they are contemporary with events of worldwide impact brought about by mankind throughout the twentieth century that had a great impact on their works. / A teoria da seleção natural como um dos processos causais da teoria da evolução de Darwin atingiu áreas de conhecimento bem além das ciências naturais. Essa expansão o emprego da lógica selecionista na psicologia e na filosofia, que encontramos em autores como Popper e Skinner é o que usualmente se define como ultradarwinismo. As idéias de Darwin, assim como seus efeitos após a publicação de A Origem das Espécies, foram abordadas a partir da interpretação fornecida por Ernst Mayr. O presente trabalho teve como objetivos: (1) Demonstrar a influência do autor inglês nos textos de Popper e Skinner, e (2) Apresentar breves comparações do que produziu Popper com a visão de Skinner como autores preocupados com o destino das sociedades. O método utilizado foi o aporético. Os principais resultados encontrados foram: (1) a lógica selecionista permite evidenciar elementos epistemológicos comuns nos trabalhos de Popper e de Skinner; (2) ambos os autores apontam o conhecimento científico como via de investigação e planejamento cultural; (3) ambos entendem que posições teóricas essencialistas funcionam como obstáculo para o avanço tecnológico e como causa de atraso no desenvolvimento das civilizações; (4) eles são contemporâneos de eventos de impacto mundial promovidos pelo homem no séc. XX, os quais influenciaram as teorias produzidas por ambos.

Made available in DSpace on 2015-03-03T11:52:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-25Bitstream added on 2015-03-03T12:07:24Z : No. of bitstreams: 1 000805862.pdf: 3460666 bytes, checksum: 30c6f88e4f3a51e9a223372ed7583d20 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho tem como objetivo analisar as estruturas narrativa e fílmica do conto The Fall of the House of Usher (1839), de Edgar Allan Poe (1809-1849), e do filme La Chute de la Maison Usher (1928), dirigido por Jean Epstein (1897-1953), considerando o modo como se constrói o espaço e os sentidos resultantes dessa composição. As obras que tomamos como base teórica para a análise são: Lima Barreto e o Espaço Romanesco (1976), de Osman Lins, A linguagem cinematográfica (2003), de Marcel Martin, A narrativa cinematográfica (2009), de André Gaudreault e François Jost. Assim, analisaremos os procedimentos narrativos utilizados por Poe na composição do espaço e as técnicas cinematográficas que aproximam ou afastam as características do espaço fílmico da narrativa original, o conto / This study aims to analyze the narrative and filmic structures of the tale The Fall of the House of Usher (1839), by Edgar Allan Poe (1809-1849), and the film La Chute de la Maison Usher (1928), directed by Jean Epstein (1897-1953), considering how space is constructed and the meanings resulting from this construction. The works we considered as theoretical basis for the analysis are: Lima Barreto e o Espaço Romanesco (1976), by Osman Lins, A Linguagem Cinematográfica (2003), by Marcel Martin, A narrativa cinematográfica (2009), by André Gaudreault and François Jost. Thus, we analyze the narrative techniques used by Poe in the composition of the space, and the cinematic techniques which bring together the characteristics of the filmic space of the original narrative, namely the tale, or which set them apart