The main purpose of this study is to assemble in one source as much of the historical data pertinent to the D Major Cello Concerto of Joseph Haydn as is possible in such a work. Many articles have been written over the years concerning this concerto. The major concern of these articles has been whether or not Haydn actually composed the D Major Cello Concerto. All of the known arguments will be approached and discussed and some conclusions will be drawn. It is interesting to note that all such arguments were published before the whereabouts of the autograph manuscript was widely known. The present author was able to obtain a microfilm copy of the autograph from the Austrian National Library in Vienna to whom he is deeply indebted. This microfilm has proven itself invaluable in this study. Many references to the autograph will be made throughout this work, especially in Chapters Three and Four, dealing with the Gevaert changes and the current editions of the concerto. This leads to a second purpose of this paper. That purpose is to determine which of the current editions of the D Major Cello Concerto follows the manuscript most accurately. There have been many published editions of this concerto and presently there are more than eight to choose from. The decision of which edition to use when studying this piece is largely a matter of personal taste, but one should take into consideration whether or not the edition used is authentic. At this time there is an appalling lack of critical editions in the cello repertiore, with only the Bach Suites and the Beethoven and Brahms Sonatas available in such editions. Critical editions do not always contain the most effective bowing and fingering indications, but a well-schooled player can reach his own conclusions concerning correct notes, dynamics, phrases and articulations. Authentic scores eliminate the questionable indications of ill-informed and misguided editions; the serious music student will try to determine what the composer really wanted. It is the real concern of this author that in the forthcoming years there will be more critical editions of the cello repertoire made available to both students and teachers. Just a note concerning translations. Translations on page 10 and 14 are by Josef Marx. All others, unless otherwise noted in the footnotes, are mine.

Francois Javier Garneau was born in Quebec in 1809 and died there in 1866. He has attracted more attention than any other French Canadian historian, although he had first achieved a certain popularity as a nationalist poet. Following the publication of Lord Durham's report, Garneau wrote the Histoire du Canada depuis sa Découverte jusqu'à nos Jours. In doing so he awakened a great interest in the past and has been a principal source of French Canadian nationalistic thought to the present day. As the "historien national" he is always lauded and praised. This was not always the case. Garneau did not follow the pattern of a typical French Canadian boy. He was never educated in a Church school and in fact refused a classical education if he had to become a priest in order to obtain it. Following his formal education he was apprenticed to a Scottish notary who had a library of liberal thought and it was from the liberal thinkers of his day that Garneau formed his philosophy. In 1851 he went to Europe and for two years associated with liberals in England. On his return to Quebec, he worked with the patriote party. He probably began to write his history after Durham's insults to the French Canadian people and published his first edition over three years, 1845, 1846 and 1848. He was as scientific as possible, but was not objective. He wrote interestingly and well and his book was the first of the histories of French Canada to tell the whole story and to carry a theme. His is a history of war and politics and he ignored as much as possible the religious side of the picture. He was a liberal of the type dangerous to the Church at that time, and because he was anti-clerical, the Church opposed him. A second edition in 1852 was changed in style and improved in documentation, but was exactly the same in philosophy. No doubt Church criticism increased. Garneau knew the final results of facing Church antagonism and appears to have written his third edition and then given it to a priest who could remove all material which was doctrinally incorrect before publication in 1859. This third edition is improved again in style and documentation, and is even more nationalistic than the two earlier ones. Because he submitted the third edition to a "competent ecclesiastic" for expurgation, Garneau is lauded, and the third edition is considered to be the one containing his true thoughts. French Canadian historians believe that the act of submission signified conversion. The priest in fact removed much of Garneau's anti-clerical thinking, but could not remove it all without changing the entire work. Evidence remains in the third edition to show that Garneau had not changed his mind. These historians also ignore letters which help to show that Garneau did not change his mind, yet the same letters are used to indicate his qualities as an historian. Without evidence, French Canadian historians insist that Garneau changed his mind on doctrine. They probably feel it necessary to avoid using material suggesting that he had not. Garneau was a nationalistic historian who produced a cult of nationalist writers and prompted an awareness of a glorious past. To keep this awareness alive, French Canadian writers, virtually all Roman Catholic and nationalistic, ignore what is distasteful to them, presumably in order to promote his popularity and their own ends. Nobody seems to have carefully compared the second and third editions, nor to have combined the results of such a comparison with the evidence provided by the printed letters. Garneau's philosophy had been formed by education and experience and it did not change. There is little difference in the two editions except in style, documentation and emphasis; the philosophy, although diluted in the third edition, has not been entirely destroyed. / Arts, Faculty of / History, Department of / Graduate

Nikolai Gogol has been an enigma that many scholars have attempted to understand. No one disputes his artistic genius, yet no one can satisfactorily define it. Both in his artistic works and in his life, Gogol was original, or rather, he was true to himself, a feat that set him apart from Russian society during Nikolai I's reign. Gogol did not have any love affairs nor did he marry. This fact has led many critics to formulate the opinion that Gogol feared women. Theories of an Oedipal or homo-erotic complex, or regression have been set forth as explanations for this fear. Yet did Gogol fear women and do his works reflect this fear? The Oedipal and regressive theories are justified by selecting examples from Gogol's literary works. However, these attempts, to date, have been usually based on one or two works, while the rest of Gogol's works are disregarded. It is the purpose of this study to give a comprehensive analysis of Gogol's life and works before any conclusions are arrived at. The intent is to be objective rather than subjective. To do this, I have had to rely heavily on actual quotations from the author, his works, and opinions voiced by critics. The study has been divided into four chapters. The first chapter deals with Gogol's biography. His early life, his mother's influence, his aspirations and friendships will be surveyed. The second chapter consists of four summaries of recent critiques of Gogol. These four have been chosen on the basis that they reflect a diversity of present-day opinions of Gogol. Setchkarev analyses Gogol's work from an artistic point of view. Erlich regards Gogol as a great grotesque writer whose works reflect existential problems. Driessen and McLean illustrate what can be done when a psychoanalytical approach is used. The third chapter is an examination of Gogol's method of presenting his women characters. As Gogol developed philosophically and artistically, his attitude to women changed. Therefore I have divided the chapter into four parts, each reflecting a different attitude to the subject, women. The parts are called modes and consist of the lyrical, subjective, caricature and idealized mode. The milieu of the women characters, their physical appearance, actions and functions in the stories will be looked at. The last chapter presents my conclusion. On the basis of a textual analysis of Gogol's works, I have arrived at the conclusion that Gogol had a high regard for women. Women are a completely separate entity from men and should be appreciated for what they are. Gogol finds fault with men for expecting too much from women; rather, men should seek contentment within themselves. However, women as objects to behold are an everlasting pleasure to Gogol. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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This thesis is a study of selected speeches of Abraham Lincoln in their historical continuum.

The primary purpose of this study is to show that anticipations of the "art for art's sake" theory can be found in Tennyson's poetry which is in line with the tenets of aestheticism and symbolism, and to show that Tennyson's lyricism is a "Palace of Art" in which his tragic emotions-- sadness, sorrow, despair, and melancholic sensibility--were built into beauty.

Typescript, etc. / Digitized by Kansas Correctional Industries