Thesis (Ph.D.)--Boston University. / From the time he first became known in America two contrasting attitudes toward Goethe have been discernible. There was on the one hand a rejection of the poet on moral and political grounds, and opposing this an appreciation of the humanist, poet, and last universal man. In general the pre-Civil War period shows a decline in the puritanic standard of judging literature and a growing appreciation of Goethe's central importance. Of the two substantial studies of the poet in the postCivil War period, von Grueningen deals with the attitude toward him as reflected in periodicals , and Pochmann's contribution, while encyclopedic in scope, does not attempt critical evaluation. The present investigation undertakes to explore the reaction toward Goethe of a representative group of writers in the genteel tradition. This term, coined by Santayana and widely adopted, is used here to characterize the attitude toward culture prevailing in America from 1865 to 1912. It is marked by a failure to reflect the national background, by moral timidity, cultural nostalgia, and an insistence on decorum in artistic expression. Its salutary influence lies in its transmission of the European cultural heritage. Much of Goethe's influence during this time was in the field of literary criticism. Lowell saw him as the last of the great humanists and as the successor of the major poets of the West. He adopted the poet's canons of criticism and often his judgments on specific works. Howells, less inclined to accept him in toto as a literary and critical model, commended chiefly his theory of the novel, and repudiated his personal morality. Of the minor critics, Whipple praised him with undiscriminating vagueness, Stedman adopted many of his critical criteria, while Mabie went farthest toward providing a complete picture of the poet. Woodberry, the youngest of the group, while acknowledging Goethe's importance in modern thought, held strong reservations as to his personal character and his ideal of self-culture.[TRUNCATED]

This thesis follows on a number of studies all of which deal with selected schools of composition important in the development of the piano sonata. Muzio Clementi was one of the leading contemporaries of such great masters as Haydn. Mozart, Beethoven and Schubert, all of whom contributed greatly to the repertoire of piano sonatas. During his lifetime his reputation equalled that of his contemporaries and many of his sonatas were greatly admired by the young Beethoven. Clementi was born in Rome but spent the largest part of his Ii in London where he established himself as a multi-faceted musician, being engaged in many different fields connected with music: composer, teacher, performer, publisher and manufacturer of pianos. His sonatas form the most important part of his total creative output. While the earli works still follow principles typical of the middle classical period, his later sonatas belong to a different era and foreshadow the coming of romanticism. This thesis is devoted to a detailed survey of the changes that affect the form of the various movements. It shows the gradual change from tile simple compositional methods of the early works to the inherent logical process that characterises the sonatas of the later years The first part of the thesis culminates in findings that prove Clementi IS individuality and show that his enquiring spirit makes him an innovator of the first rank. The second major part of the thesis deals with the stylistic changes that take place within the various periods of Clementiis creative life. It summarises the main ingredients of his early music, critically evaluates the importance of various pianistic devices that play a leading role in works of the middle periods and finally shows the successful blending of inherited and new techniques in the last sonatas. The concluding section details the major points of the preceding investigations and presents a picture of Clementi's personality as it emerges through the medium of his solo keyboard sonatas.

Friedrich Kuhlau (1786-1832) ranks as a minor master of the early nineteenth century. As a composer of keyboard music he is perhaps best known for his sets of sonatinas, but the twenty-two sonatas he composed from 1809 to 1831 form a significant part of his extensive output. This study examines three of his sonatas -- Op. 4, Op. 46 No. 2 and Op. 127 -- and places them in historical context through a discussion of the importance of this genre in the repertoire of that era. A survey of contemporary keyboard performance practices is also included, as well as an introductory biographical sketch. Kuhlau's style is undeniably conservative, with phrases of regular and predictable length in evidence throughout, and his music is often derivative of that of earlier composers from C.P.E. Bach through Beethoven. However, his works also reflect numerous traits of early Romanticism. They are melodically rich, widely spaced sonorities are frequently employed, and his textures range from delicate nuances to thickly scored passages. From a purely pianistic point of view, he displays a fondness for scalewise and arpeggiated passages so often used to excess by lesser composers of his era, but he also clearly demonstrates that he was aware of more innovative approaches to keyboard writing. Throughout history, countless minor composers such as Kuhlau were highly respected during their lifetimes; nevertheless, most of their compositions, including those under consideration here, have not survived on the concert stage. Consequently, there exists a vast body of literature of which little or nothing is known. It is both necessary and useful to study such works in order to gain a more complete understanding of music of their period. Moreover, a closer examination of them might well lead to a reassessment of their worth, which in turn may encourage more frequent performances. / Arts, Faculty of / Music, School of / Graduate

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陳雄根. / 手稿本, 複本據稿本影印, 並分訂兩册. / Thesis (M.A.)--香港中文大學硏究院中國語文學部, 1989. / Shou gao ben, fu ben ju gao ben ying yin, bing fen ding liang ce. / Includes bibliographical references (leaves 1251-1328). / Chen Xionggen. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu, 1989. / 論文提要 --- p.1 / 目錄 --- p.23 / 序言 --- p.44 / 凡例 --- p.47 / （第一冊） / Chapter 第一章 --- 《廣雅疏證》成書的背景 --- p.1 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 王氏生平和著述 --- p.6 / Chapter 第三節 --- 王氏的學術淵源及《廣雅疏證》成書經過 --- p.20 / 第一章注釋 --- p.59 / Chapter 第二章 --- 王氏的古音學與聲訓理論 --- p.85 / Chapter 第一節 --- 引言 --- p.85 / Chapter 第二節 --- 古韻分部問題 --- p.87 / Chapter (一) --- 古韻二十一部 --- p.87 / Chapter (二) --- 古韻二十二部 --- p.111 / Chapter 第三節 --- 古代聲調問題 --- p.115 / Chapter 第四節 --- 合韻問題 --- p.123 / Chapter 第五節 --- 王氏的古音學與《廣雅疏證》的關係 --- p.128 / Chapter 第六節 --- 王氏「因聲求義」的主張 --- p.133 / 附論：王氏「以聲為義」說述評 --- p.150 / 第二章注釋 --- p.171 / （第二冊) / Chapter 第三章 --- 王氏以「聲同」求義說研究 --- p.188 / Chapter 第一節 --- 有關「聲同」求義的用語闡釋 --- p.188 / Chapter 第二節 --- 從近人上古擬音的標準對有關文例再考察 --- p.202 / Chapter (一) --- 具雙聲關係 --- p.202 / Chapter (二) --- 具旁紐關係 --- p.214 / Chapter (三) --- 具準旁紐關係 --- p.221 / Chapter (四) --- 聲母關係複雜 --- p.222 / Chapter (五) --- 聲母不近 --- p.227 / 小結 --- p.233 / 「同聲」字聲音關係統計表 --- p.240 / Chapter 第三節 --- 王氏論定「同聲」的依據 --- p.247 / Chapter (一) --- 以異文為據 --- p.247 / Chapter (二) --- 以諧聲為據 --- p.250 / Chapter (三) --- 以聲訓為據 --- p.254 / Chapter (四) --- 以《說文》讀若為據 --- p.256 / Chapter (五) --- 以古注意為據 --- p.257 / Chapter (六) --- 以古今字為據 --- p.259 / Chapter (七) --- 以假借字為據 --- p.260 / Chapter (八) --- 以反切為據 --- p.262 / Chapter 第四節 --- 王氏論定「同聲」依據的得失 --- p.266 / Chapter (一) --- 材料允當 --- p.266 / Chapter (1) --- 異文例 --- p.267 / Chapter (2) --- 諧聲例 --- p.267 / Chapter (3) --- 聲訓例 --- p.268 / Chapter (4) --- 《說文》讀若例 --- p.269 / Chapter (5) --- 古注音例 --- p.269 / Chapter (6) --- 古今字例 --- p.270 / Chapter (7) --- 假借字例 --- p.270 / Chapter (8) --- 反切例 --- p.271 / Chapter (二) --- 依據失準 --- p.273 / Chapter (1) --- 「同聲」的界定過寬 --- p.273 / Chapter (2) --- 古音的時代斷限太長 --- p.279 / Chapter (3) --- 過信古書材料 --- p.282 / Chapter (I) --- 異文方面 --- p.282 / Chapter (II) --- 諧聲方面 --- p.286 / Chapter (III) --- 聲訓方面 --- p.288 / Chapter (IV) --- 《說文》讀若方面 --- p.290 / Chapter (V) --- 古注音方面 --- p.293 / Chapter (VI) --- 古今字方面 --- p.295 / Chapter (VII) --- 假借方面 --- p.297 / Chapter (VIII) --- 反切方面 --- p.300 / Chapter (三) --- 王氏定音依據對近人構擬上古音系的補苴 --- p.304 / 第三章注釋 --- p.312 / Chapter 第四章 --- 王氏以「聲近」求義說研究 --- p.344 / Chapter 第一節 --- 有關「聲近」求義的用語闡釋 --- p.344 / 小結 --- p.365 / Chapter 第二節 --- 從近人上古擬音的標準對有關文例再考察 --- p.369 / Chapter (一) --- 具雙聲關係 --- p.369 / Chapter (二) --- 具旁紐關係 --- p.378 / Chapter (三) --- 具準旁紐關係 --- p.384 / Chapter (四) --- 具鄰紐關係 --- p.389 / Chapter (五) --- 聲母關係複雜 --- p.394 / Chapter (六) --- 聲母不近 --- p.398 / 小結 --- p.405 / 「聲近」字聲音關係統計表 --- p.411 / Chapter 第三節 --- 王氏論定「聲近」的依據 --- p.417 / Chapter (一) --- 以聲訓為據 --- p.417 / Chapter (二) --- 以諧聲為據 --- p.420 / Chapter (三) --- 以異文為據 --- p.423 / Chapter (四) --- 以轉語為據 --- p.424 / Chapter (五) --- 以假借為據 --- p.426 / 小結 --- p.430 / 第四章注釋 --- p.432 / （第三冊） / Chapter 第五章 --- 王氏以「聲轉」求義說研究 --- p.449 / Chapter 第一節 --- 從楊雄《方言》到王氏的轉語理論 --- p.449 / Chapter 第二節 --- 有關「聲轉」求義的用語闡釋 --- p.461 / Chapter (一) --- 一聲之轉 --- p.461 / Chapter (二) --- 聲之轉、聲轉、轉聲 --- p.467 / Chapter (三) --- 甲即乙之轉 --- p.472 / Chapter (四) --- 語之轉 --- p.474 / Chapter (五) --- 方俗語轉 --- p.478 / Chapter (六) --- 其他 --- p.480 / 小結 --- p.481 / Chapter 第三節 --- 從近人上古擬音的標準對有關文例再考察 --- p.491 / Chapter (一) --- 具雙聲關係 --- p.491 / Chapter (二) --- 具旁紐關係 --- p.507 / Chapter (三) --- 具準旁紐關係 --- p.515 / Chapter (四) --- 具鄰紐關係 --- p.519 / Chapter (五) --- 聲母關係複雜 --- p.525 / Chapter (六) --- 特殊聲轉例 --- p.530 / Chapter (1) --- 轉語保持叠韻關係 --- p.530 / Chapter (2) --- 聲母不近而韻轉 --- p.536 / Chapter (七) --- 其他聲轉關係 --- p.540 / Chapter (1) --- 語之侈弇 --- p.541 / Chapter (2) --- 語之輕重 --- p.547 / Chapter (3) --- 語之緩急 --- p.557 / 小結 --- p.567 / 「聲轉」字聲音關係統計表 --- p.577 / Chapter 第四節 --- 王氏的轉語理論及其淵源 --- p.583 / Chapter (一) --- 戴震的「同位」、「位同」、「正轉」、 「變轉」說 --- p.583 / Chapter (二) --- 王氏的「同位相等」 、「異位相轉」說 --- p.592 / Chapter (三) --- 王氏的「正轉」、「變轉」說 --- p.599 / 小結 --- p.604 / Chapter 第五節 --- 轉語之間意義上的聯繫 --- p.609 / Chapter 第六節 --- 轉語的類推 --- p.622 / Chapter (一) --- 義相近者聲轉之理亦比之而同 --- p.622 / Chapter (二) --- 事雖不同而聲轉之理相同 --- p.630 / Chapter 第七節 --- 王氏推求轉語的方法 --- p.636 / Chapter (一) --- 直接引用楊雄、郭璞的轉語材料 --- p.636 / Chapter (二) --- 在楊雄、郭璞的說解基礎上再加闡釋 --- p.638 / Chapter (三) --- 繁徵博引以證轉語 --- p.640 / Chapter (四) --- 以今語證轉語 --- p.644 / Chapter (五) --- 以類推求轉語 --- p.648 / Chapter (六) --- 利用異文、對文、上下文、連文等材料以求轉語 --- p.651 / Chapter 第八節 --- 王氏轉語理論的評價 --- p.655 / 第五章注釋 --- p.666 / （第四冊） / Chapter 第六章 --- 王氏聲義相通說研究 --- p.697 / Chapter 第一節 --- 有關聲義相通的用語闡釋 --- p.697 / Chapter (一) --- 甲與乙通 --- p.697 / Chapter (二) --- 甲通作乙 --- p.702 / Chapter (三) --- 古通用、古同聲而通用 --- p.705 / Chapter (四) --- 甲古通作乙 --- p.711 / Chapter (五) --- 古聲近而通用、聲近而通用 --- p.715 / Chapter (六) --- 義通 --- p.719 / 小結 --- p.725 / Chapter 第二節 --- 從近人上古擬音標準對有關文例再考察 --- p.731 / Chapter (一) --- 聲音全同 --- p.731 / Chapter (二) --- 具雙聲關係 --- p.734 / Chapter (三) --- 具旁紐關係 --- p.744 / Chapter (四) --- 具準旁紐關係 --- p.749 / Chapter (五) --- 具鄰紐關係 --- p.753 / Chapter (六) --- 聲母關係複雜 --- p.755 / Chapter (七) --- 聲母不近 --- p.760 / 小結 --- p.762 / 通用字聲音關係統計表 --- p.765 / Chapter 第三節 --- 王氏論定通用字的依據 --- p.771 / Chapter (一) --- 以異文為據 --- p.771 / Chapter (二) --- 以聲訓為據 --- p.775 / Chapter (三) --- 以古書文義及注疏為據 --- p.778 / 小結 --- p.782 / Chapter 第四節 --- 王氏「聲義相通」說的評价 --- p.792 / 第六章注釋 --- p.816 / Chapter 第七章 --- 王氏論「之言」聲訓探賾 --- p.848 / Chapter 第一節 --- 王氏對「之言」聲訓的繼承及創新 --- p.848 / Chapter (一) --- 援引舊例 --- p.851 / Chapter (二) --- 引錄古聲訓，並出新說 --- p.855 / Chapter (三) --- 古聲訓不可從，自立新說 --- p.857 / Chapter 第二節 --- 王氏所立「之言」聲訓的理論根據 --- p.862 / Chapter (一) --- 直據舊有聲訓 --- p.862 / Chapter (二) --- 以古書異文為據 --- p.864 / Chapter (三) --- 以通用字為據 --- p.866 / Chapter (四) --- 受古書文句啟發 --- p.868 / Chapter (五) --- 以今語為據 --- p.870 / Chapter (六) --- 以《廣雅》原文互證 --- p.871 / Chapter 第三節 --- 王氏所立「之言」聲訓中釋詞與被釋詞的聲音關係 --- p.876 / Chapter (一) --- 具諧聲關係 --- p.876 / Chapter (二) --- 具雙聲關係 --- p.880 / Chapter (三) --- 具旁紐關係 --- p.884 / Chapter (四) --- 具準旁紐關係 --- p.887 / Chapter (五) --- 具鄰紐關係 --- p.888 / Chapter (六) --- 聲母不近 --- p.889 / Chapter 附錄： --- 《廣雅疏證》「之言」聲訓統計說明 --- p.892 / 王氏「之言」聲訓上下字聲音闗係統計表 --- p.894 / Chapter 第四節 --- 王氏「之言」取訓的方式 --- p.895 / Chapter (一) --- 以單音詞為訓 --- p.895 / Chapter (二) --- 連用兩聲訓為訓 --- p.897 / Chapter (三) --- 舉聲訓後略加解釋 --- p.901 / Chapter (四) --- 以叠語為訓 --- p.902 / Chapter (五) --- 以連語為訓 --- p.906 / Chapter (六) --- 以複音詞為訓 --- p.907 / Chapter 第五節 --- 王氏以「之言」聲訓探求物名之義考 --- p.910 / Chapter (一) --- 以事物的作用為據 --- p.918 / Chapter (二) --- 以事物的性質為據 --- p.920 / Chapter (三) --- 以事物的形狀為據 --- p.921 / Chapter (四) --- 以事物的狀態為據 --- p.922 / Chapter (五) --- 以事物的顏色為據 --- p.924 / Chapter 第六節 --- 王氏「之言」聲訓的評價 --- p.927 / 第七章注釋 --- p.934 / （第五冊） / Chapter 第八章 --- 王氏連語理論探賾 --- p.950 / Chapter 第一節 --- 連語的定義 --- p.950 / Chapter 第二節 --- 王氏對連語的界定 --- p.958 / Chapter 第三節 --- 王氏的連語理論 --- p.963 / Chapter (一) --- 語音方面 --- p.963 / Chapter (二) --- 語義方面 --- p.982 / Chapter (1) --- 義存於聲 --- p.982 / Chapter (2) --- 連語上下字同義，不可分訓 --- p.985 / Chapter (3) --- 一詞多義 --- p.994 / Chapter (三) --- 字形方面 --- p.1006 / Chapter (1) --- 字無定體 --- p.1006 / Chapter (2) --- 連語上下字靈活的組合性 --- p.1019 / Chapter 第四節 --- 王氏與同時學者對連語研究的成績的比較 --- p.1031 / Chapter 第五節 --- 王氏連語理論的評價 --- p.1044 / 第八章注釋 --- p.1056 / （第六冊） / Chapter 第九章 --- 王氏「因聲求義」理論再評價 --- p.1081 / Chapter 第一節 --- 王氏「因聲求義」的特色 --- p.1081 / Chapter 第二節 --- 王氏論定古音的標準 --- p.1088 / Chapter (一) --- 以古韻二十一部及古書材料為據 --- p.1088 / Chapter (二) --- 「同」、「近」、「通」、「轉」聲音的分合 --- p.1095 / Chapter 第三節 --- 王氏「因聲求義」的成績 --- p.1098 / Chapter (一) --- 繫聯同源字 --- p.1098 / Chapter (二) --- 明通假 --- p.1105 / Chapter (三) --- 求轉語 --- p.1111 / Chapter (四) --- 闡明重言及連語 --- p.1114 / Chapter 第四節 --- 王氏聲訓理論在乾嘉學派的地位 --- p.1121 / Chapter (一) --- 因聲求義，不限形體 --- p.1121 / Chapter (二) --- 轉語的研究 --- p.1130 / Chapter (I) --- 轉語的聲轉條件 --- p.1130 / Chapter (II) --- 轉語形成的先後 --- p.1135 / Chapter (III) --- 轉語細微的音變 --- p.1146 / Chapter (IV) --- 轉語的類推 --- p.1155 / Chapter (三) --- 連語的考察 --- p.1158 / Chapter 第五節 --- 王氏「因聲求義」的缺失 --- p.1170 / Chapter (一) --- 論定古音方面 --- p.1171 / Chapter (I) --- 古韻分部未臻完善 --- p.1172 / Chapter (II) --- 界定「同聲」的標準過寬 --- p.1179 / Chapter (III) --- 過信古書材料 --- p.1183 / Chapter (IV) --- 古音的時代斷限太長 --- p.1184 / Chapter (二) --- 用語的混淆 --- p.1187 / Chapter (I) --- 「同」、「通」有時不分 --- p.1187 / Chapter (II) --- 聲轉用語的混淆 --- p.1188 / Chapter (III) --- 「聲同」與「聲近」 --- p.1191 / Chapter (IV) --- 「義同」與「義近」 --- p.1191 / Chapter (三) --- 例證不充分 --- p.1196 / Chapter (四) --- 不能完全擺脫字形以說義 --- p.1201 / Chapter (五) --- 繫聯字源欠缺系統 --- p.1205 / Chapter (六) --- 聲訓理論的缺失 --- p.1213 / Chapter 第六節 --- 餘論─歷來有關《廣雅疏證》的研究 --- p.1217 / 第九章注釋 --- p.1224 / 參攷書目 --- p.1251

This study examines the links between architecture and literature through the work of English author/mathematician/geometrician Lewis Carroll/Charles L. Dodgson. The premise is that throughout Carroll's work, questions concerning the position of the body in relation to its surroundings---the possibility for one to forge a sense of place---are recurrent. Carroll stages a series of bodily movements in space: changes in scale, transformations, alterations, translations from bottom to top, from left to right, from the inside to the outside, and so on. Reading the work, one is constantly reminded that one's perception of space, as well as one's understanding of where one stands, are phenomena that take place in language, through utterances, through words. Approaching Carroll's work with particular attention to the space of bodily movements and to plays on language, one can access a subterranean architectural discourse. This discourse is oblique, suggested rather than explicit, but nonetheless raises pertinent questions concerning the formation of architectural meaning: the relationship of sense to its limits---to nonsense---in architecture. / The following texts are studied: Carroll's two architectural pamphlets; the two Alice stories with their convoluted spaces; a long epic poem dealing with the space of discovery; a drama on geometry and a logical exposition on the paradoxes of movement. Throughout Carroll's multifaceted work, nonsense guides the construction of the texts. Working at the limits of language and literary genres, Carroll's parodies possess strong allegorical powers: sense travels obliquely and the work remains enigmatic. However, the reader somehow understands the work; the experience of the work produces a certain kind of knowledge. / In architecture, meaning is also tied to its outer limits---to the polysemy of nonsense. Through one's experience of space, a stable and orderly building becomes heterogeneous, loaded with qualities and symbols. A sense of place emerges and meaning momentarily appears along the sinuous paths that run between bodily movements, thoughts, dreams, desire and words.

Thesis (Ph. D.) -- University of North Carolina at Chapel Hill, 2007. / Includes abstract. Includes bibliographical references (leaves 297-311). Also available in electronic form via the UNC-CH Libraries internet website. Adobe Acrobat Reader required. Address as of 09/12/2008: http://dc.lib.unc.edu/u?/etd,1117

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