Typescript (photocopy).

No description available.

No description available.

John Field (1782-1837), an Irishman, was the first composer to use the French term "nocturne," and was the inventor of the nocturne for piano. It can be seen with a glance at the scores that the orchestral notturni by the eighteenth century composers were very different than what is generally thought of today as a nocturne. Field introduced the idea of the nocturne that has remained much the same since. Frederic Chopin enlarged and improved the genre invented by Field, but it was Field's originality that brought this type of piece to piano literature. Indeed, John Field is hardly remembered today except as the inventor of the nocturne for the piano and for his influence on Chopin's Nocturnes. For that alone musicians will remain indebted to him.

This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.

Access to abstract permanently restricted to Ball State community only / Access to thesis permanently restricted to Ball State community only / School of Music

During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.

This thesis examines Muhammad 'Abduh's ideas on Islamic Law, and the extent to which his writings influenced subsequent Muslim reformers in the sphere of law. The study focuses on 'Abduh's views on ijtihad and its application in modern society. / The principle of ijtihad, as practised by 'Abduh, was not dependent upon the opinions of previous scholars. A leading reformer of Islamic law (1849-1905), 'Abduh rejected taqlid which in nineteenth century Egypt was the rule of the day. Scholars in his day adhered to the books of their respective madhhabs to the extent of choosing to ignore the main sources of Islamic law, viz. the Qur'an and Hadith. For this reason, 'Abduh did not follow any particular madhhab in his ijtihad, but chose to be guided by whichever school of law he believed was best fit to deal with a particular contemporary problem. This practice has come to be known as talfiq. His use of it was the beginning of legal reform in Islamic law. / To facilitate legal reform, 'Abduh employed the Islamic legal principle of al-maslahah al-mursalah. This principle was an application of ijtihad which he invoked in order to deal with issues such as polygamy and bank interest. 'Abduh's fatwas were based on the sources of Islamic law, i.e. the Qur'an and the Hadith. Although his main concern was to rehabilitate the use of reason in law, he never strayed far from the traditional sources.

Although Jewett employs many local color conventions, she transcends the school in her subtle, controlled use of dialect, her blending of setting with story, and her skill in creating characters, especially women. She also maintains a sophisticated tension between local color polarities (city/country, individual/society, child/adult, land/sea, past/present, and insider/outsider), finding both sides necessary to a balanced portrayal of place and people.Through an internal analysis in of fifty-seven stories, this study classifies women according to marital or social groups. A chapter on courtship relationships finds that women usually have the upper hand, displaying a mixture of pragmatism and humor. Courtships often involve romance but never passion. Having made a choice, women accept the imperfections of men with understanding and tolerance.Women also form small groups of two or three which are often centered around rite-of-passage situations. These groups transcend but maintain social standing; they often function by a non-verbal code which is sometimes misunderstood. Or, the relationships may exist in the mind or heart, crossing geographic and temporal barriers. For women, isolation brings mental, spiritual, and even physical death.The group of younger women who have a special gift or calling for medicine, teaching, art, or business most clearly reveals Jewett's nascent feminism. These women must choose between the calling and the more traditional feminine role. Often they have a special affinity for their mothers.Sisters, externally alike, function according to a clearly defined hierarchy; the older is more controlling and motherly, the younger often prettier, more gentle, and less disciplined.Jewett's forte, the spinsters and widows who often live and function alone, are usually self-reliant and optimistic. They may create imaginary audiences or alter egos for companionship. Overcoming occasional temptations to selfishness, they maintain the family home with dignity and fortitude, even when the social and economic problems of a passing era become overwhelming. Jewett's women are strong and resourceful, optimistic and resilient. Her success in character portrayal lies in the ability to blend specific homey detail with universality of thought and feeling.

Desde que aparecieron los poemas de Juan Arolas (Barcelona, 1805 - Valencia, 1849), primero en los periódicos de la época romántica y más adelante en libro, han pasado muchos años, el tiempo suficiente para sentir despego por lo que parece viejo, sin tener aún pátina de antigüedad. Tras unos primeros artículos laudatorios, la estrella de Arolas fue eclipsándose y la crítica moderna ha olvidado que en torno al año 1840 ("annus mirabilis" para la poesía romántica española), el autor de las "Orientales" escribió casi todo lo que entonces le quitaban de las manos los lectores, no tan sólo en Valencia (su ciudad de adopción), sino en el resto de España y hasta en Hispanoamérica, en donde se multiplicaron las ediciones "piratas" de algunas de sus antologías. Sólo en 1898, José Ramón Lomba y Pedraja publicó su estudio de la obra de Arolas, el primero con unas ciertas pretensiones de rigor. Sin embargo, este trabajo, si bien es digno de alabanza, adolece de una ligereza como de vuela pluma, que a veces acaba en la inexactitud. Desde entonces, han sido escasísimos los entendidos que han recogido el envite planteado por Lomba. Sólo han aparecido algunos aspectos parciales o notas introductorias, pero en tan insignificante proporción con respecto a la bibliografía publicada sobre la literatura del siglo XIX, que resulta sospechoso este desinterés. Desde esta perspectiva, creo en la validez de emprender la revisión de la figura y la obra de Arolas, porque si al estudiar un determinado período de la Literatura sólo nos interesan las figuras más destacadas del momento, corremos el riesgo de escamotear el ámbito cultural en el que éstas surgieron y que les da su significación. Por el contrario, cuando nos aproximamos a la obra de los autores considerados como menos trascendentes, los rasgos generacionales quedan más evidentes y son una fuente preciosa para estudiar el punto de partida de los escritores más relevantes. A lo largo de los diez capítulos en que he estructurado la presente Tesis Doctoral, he querido dejar clara la significación que la figura de Juan Arolas tiene en el panorama de la poesía romántica española. Entre otras cosas, Arolas asumió la responsabilidad de divulgar entre sus paisanos el nuevo estilo literario, pero esta misión (que llevó a través de sus colaboraciones en la prensa) le hizo caer en un cierto adocenamiento, en repeticiones, en clichés. A pesar de ello, su fama traspasó las fronteras regionales y llegó hasta Hispanoamérica, según lo demuestra el gran número de ediciones de sus poesías aparecidas en aquellas latitudes. Fue, en definitiva, un poeta popular, que supo aunar en su estilo los de otros, cuyo mérito mayor consistió en ser pionero iniciando una senda que otros intentarían seguir con desigual fortuna.