James Brownlee was born in April 1824. He was the second of three sons (and five daughters) born to the missionary John Brownlee, and his colonial born wife Catharine. The importance of James as an historical character is obscured by that of his father and elder brother Charles. James had a varied career which was cut short by his untimely death in March 1851 at the youthful age of twenty-six years and eleven months. We are fortunate that he has left a vivid account of several aspects of the seventh Frontier War in a diary which he kept from April to September 1846. The diary also points to the significance of his family in the history of the Eastern Cape. Thesis, p. 1.

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The Lecture Recital was given on July 28, 1981. Its subject, Carl Reinecke's "Undine" Sonata, is a major work written for flute during the nineteenth century. Reinecke was highly respected as a conductor and pianist; his great love for the classical style tempered his Romanticism and conditioned his approach to both performance and composition. The subtitle of the sonata suggests a program based on Friedrich de la Motte Fouqué's short novel, Undine. Although few flutists are familiar enough with this tale to recognize its application to the sonata, an exploration of the program implied by the subtitle adds materially to an understanding and appreciation of the work; to a large extent, the content of each movement is conceived in terms of the program. Further examination of Reinecke's life and philosophy reveals that both the choice of this particular literary subject and the uniting of Romantic pictorialism with classical form were entirely characteristic of his writing. Since Reinecke specified no program other than the subtitle, any relating of the music to specific events in the story is necessarily a subjective postulation. The musical content of the work makes it fairly easy to establish a broad correspondence between the movements of the sonata and the progress of the story, however, leaving details to the individual imagination. Within the paper, the pictorial aspects of the music are explored in the belief that they can not only assist in an appreciation of the work, but also provide a guide to the performer for its interpretation.

Deníky Bedřicha Smetany představují rozsahem i výpovědní hodnotou unikátní pramenný soubor. Skladatel si je psal po většinu svého života a jsou tak nejen zdrojem cenných biografických údajů, ale i informací z rodinného prostředí a ze společenského a hudebního života. Ve smetanovské literatuře byly deníky dosud využívány především jako zdroj faktografických informací, publikovány z nich byly pouze vybrané partie, v celé šíři jejich problematiky, ani v oblasti ediční jim však zatím adekvátní pozornost věnována nebyla. Předkládaná práce podává podrobnou charakteristiku a analýzu všech deníkových záznamů Bedřicha Smetany v kontextu příslušných životních etap: 1. v době studií (1843-1847), 2. za pobytu ve Švédsku a na koncertních cestách (1857-1862), 3. během působení v českém hudebním životě (1862-1883). V bezprostředním propojení s jeho životními a uměleckými osudy sleduje jejich obsahové spektrum, rozsah a hierarchii jednotlivých tematických okruhů a jejich případné proměny v jednotlivých obdobích či během nich, i okolnosti, kterými byly podmíněny, jazyk, způsob záznamů, míru jejich objektivity. Součástí je též podrobný popis všech pramenů spadajících do kategorie deníkových záznamů. Pozornost je věnována i významu a roli deníků v rámci smetanovské pramenné základny a jejich poměru k dalším typům...

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The purpose of this thesis is to show the extent to which Byron revealed himself as the hero of Childe Harold's Pilgrimage and the extent to which that hero was an original creation.

This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.

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