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Ce mémoire insiste sur la deuxième période du biranisme et donne un aperçu de sa troisième et dernière période. Les grands sujets en sont: le moi, le corps, la substance et la question de la phénoménologie. De façon analytique l'étude porte sur les thèmes suivants: la démarche biranienne, le fait primitif, ses modes et ses significations, la causalité, la connaissance, la dualité ontologique, les quatre niveaux (affectif, sensitif, perceptif et réflexif), les états affectifs, les cinq sens, la mémoire et l'imagination, l'habitude, la vie corporelle et celle du moi, les corporéités objective et subjective, le corps et le monde extérieur, la genèse et la nécessité de la substance, la croyance et la connaissance, le phénomène et le noumène, la dualité du moi et du corps et celle de l'homme et du monde, l'oscillation de la démarche biranienne, le problème de la phénoménologie et l'aspect réaliste du biranisme

Bibliography: p. 726-753. / 2 v. (753 p. ; [551] p.) : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Elder School of Music

This dissertation on Byron's Don Juan begins with a history and analysis of the stanza form. Since ottava rima is a two-fold structure, comprising an alternately rhyming sestet followed by an independent couplet, it encourages the expression of dialectical ideas. Byron's prosodic virtuosity uses this potential to create a multivalent tissue of tones which is essentially—and almost infinitely—ironic. A view of prosody is developed here which is unique in its perception of the poem's existence in terms of a reading that unfolds in "real time." For various reasons, "reader-response" critics have not yet taken much cognizance of prosody. Don Juan is a good testing-ground for their approach because its narrator constantly addresses his reader, insisting on a present time which actively accumulates a past and projects a future, as a reader's consciousness moves sequentially forward through the text. The present time of the verse rhythms is the present time of the discourse, which is often most self-reflexive in the famous "digressions." Some of these begin with an epic simile whose vehicle grows out of proportion to its tenor; others are triggered by an interruption of the story, as the narrator—like a Renaissance improvisor in ottava rima— suddenly addresses his audience directly. Still other digressions are not metaleptic leaps from a fictional to a "real" world, or from one fictional world to another, however; they are the result of the narrator's tendency to linger too long in one world, elaborating descriptions until his story is forgotten. Despite the poem's many-voiced, digressive insouciance, an investigation of its moral and metaphysical components reveals that its irony has limits. Maugre those critics who would claim Don Juan as the paradigmatic work of unlimited, infinitely regressive Romantic irony, the issue of political liberty is not to be joked about, unlike the problem of erotic love. At this stable point in an otherwise absurd universe, Byron reveals a non-ironic self under the ironic mask. More effectively than traditional autobiography, because it is enacted rather than reported, this poem recreates its author dramatically, in terms of a shifting triangular relationship between narrator, protagonist and reader. The temporal locus of this relationship is a fictional present tense grounded in the "real" present time of a reading of the poem. / Arts, Faculty of / English, Department of / Graduate

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Nuestra hipótesis de trabajo considera que las reformas borbónicas revitalizan tensiones y conflictos, en la ciudad y el campo e impactan diferencialmente en los distintos grupos sociales emplazados en el espacio colonial hispanoamericano, resultando de ello el caudillismo, entendido como la competencia –la más de las veces violenta–, entre grupos sociales. A partir de esta hipótesis de trabajo desarrollamos la investigación según la siguiente estructura. En el Capítulo 1 abordamos –luego de la justificación de nuestra investigación–, los conceptos y connotaciones de caudillo y caudillismo o caudillaje lo cual nos permitirá adecuar la discusión inicial, para luego dar cuenta sobre el origen y comprensión del caudillismo en el Perú desde tres perspectivas historiográficas: la económica, la política y la institucional. Por cierto, todas ellas circunscritas bajo los parámetros del Estado-nación y la Independencia. En el Capítulo 2, identificamos y describimos las tensiones y conflictos entre grupos sociales en el campo y la ciudad-puerto desde el periodo colonial tardío. En el Capítulo 3, describimos y analizamos los impactos de las reformas borbónicas (administrativas-fiscales y militares) diferencialmente interpretadas según los distintos grupos poblacionales. Y, finalmente, en las conclusiones discutimos y confrontamos nuestros hallazgos sobre el origen del caudillismo y proponemos una tipificación del fenómeno para una mejor comprensión sociológica de este. / Tesis

Nuestra hipótesis de trabajo considera que las reformas borbónicas revitalizan tensiones y conflictos, en la ciudad y el campo e impactan diferencialmente en los distintos grupos sociales emplazados en el espacio colonial hispanoamericano, resultando de ello el caudillismo, entendido como la competencia –la más de las veces violenta–, entre grupos sociales. A partir de esta hipótesis de trabajo desarrollamos la investigación según la siguiente estructura. En el Capítulo 1 abordamos –luego de la justificación de nuestra investigación–, los conceptos y connotaciones de caudillo y caudillismo o caudillaje lo cual nos permitirá adecuar la discusión inicial, para luego dar cuenta sobre el origen y comprensión del caudillismo en el Perú desde tres perspectivas historiográficas: la económica, la política y la institucional. Por cierto, todas ellas circunscritas bajo los parámetros del Estado-nación y la Independencia. En el Capítulo 2, identificamos y describimos las tensiones y conflictos entre grupos sociales en el campo y la ciudad-puerto desde el periodo colonial tardío. En el Capítulo 3, describimos y analizamos los impactos de las reformas borbónicas (administrativas-fiscales y militares) diferencialmente interpretadas según los distintos grupos poblacionales. Y, finalmente, en las conclusiones discutimos y confrontamos nuestros hallazgos sobre el origen del caudillismo y proponemos una tipificación del fenómeno para una mejor comprensión sociológica de este.

The term "feminist," when applied to Wilkie Collins, implies he was concerned with rectifying the oppression of women in domestic life as well as with promoting equal rights between the sexes. This study explores Collins the "feminist" by analyzing his portrayals of women, particularly his most powerful feminine creations: his villainesses. Although this focus is somewhat limited, it allows for a detailed analysis of the development of Collins's attitudes towards powerful women from the beginning to the end of his career. It examines the relationship between Collins's developing moral attitudes and social beliefs, on the one hand, and the ideas of Victorian feminists such as Josephine Butler and feminist sympathizers such as John Stuart Mill, on the other. This interaction, while never overt, reveals the ambivalence and complexity of Collins's "feminist" attitudes. Of the five novels in this study, Antonina (1850), Basil (1852), Armadale (1866), Jezebel's Daughter (1880), and The Legacy of Cain (1889), only one was published at the zenith of Collins's career in the 1860s. Each of the villainesses in these novels, their ideas and experiences, are crucial to understanding Collins's "feminist" impulses. Looking at them as powerful women who detest domestic oppression, one becomes aware that Collins feared such powerful women. But at the same time, he found something fiercely attractive about them. One also realizes that he was never fully capable of breaking the prevailing literary conventions which dictated that wickedness be punished and virtue rewarded (The Legacy of Cain is perhaps an exception, depending on how one views Helena's feminist revolution). The reading of Collins's novels offered in this study presents a broad, eclectic approach, utilizing the tenets of a number of different theoretical approaches such as new historicism, psychoanalytic criticism, and deconstruction, as well as feminist criticism. It contextualizes Collins's novels and his "feminist" concerns within the framework of other contemporary feminist ideas and the critical responses his works received.

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George MacDonald (1824-1905) is one of the most complex and significant Scottish writers of the nineteenth century, especially as a writer of children's fiction and literary fairy tales. His works, however, have seldom been studied as Scottish literature. This dissertation is the first full-length analysis of his writings for children in their Scottish context, focusing particularly on his use of Scottish folklore in his literary fairy tales. MacDonald wrote in the Scottish Romantic tradition of Robert Burns, Walter Scott, and James Hogg; by close reading his works alongside similar texts by his compatriots, such as Andrew Lang, MacDonald's own idiosyncratic contribution to that tradition becomes more apparent. His profound knowledge of and appreciation for Christian mysticism is in evidence throughout his work; his use of folklore was directly informed by his exploration of mystical ideas. Hogg is recast as a second Dante, and ‘bogey tales' become catalysts for spiritual awakening. MacDonald's fairy tales deal sensitively and profoundly with the theme of child death, a tragedy that held personal significance for him, and can thus be read as his attempt to come to terms with the reality of bereavement by using Scottish folklore to explain it in mystical terms. Traditional figures such as Thomas Rhymer, visionary poets, and doubles appear in his fairy tales as guides and pilgrims out of the material world toward mystical union with the Divine.