This thesis explores stylistic features in two novels by Joseph Conrad--The Nigger of the "Narcissus" published in 1897 and The Rover published in 1923. The main focus of the discussion of these novels is the way in which form and meaning are integrated, that is, how style creates and affects theme and subject. In particular, the various literary devices that create style--the individual word, the sentence, and larger elements such as metaphoric and metonymic patterns—are dealt with. These elements are considered under three headings: dialogue, narrative, and imagery. The mimetic character of dialogue, its integration into a text, the various types of dialogue such as reported speech and direct discourse, and variations of dialogue such as interior monologue and free indirect style are discussed in relation to theme. Secondly, narrative, the larger frame into which dialogue fits, is treated at length, with narrative method, the characteristics of narrative prose in both novels, and the effects produced by Conrad's attention to rhythm and vocabulary forming the central concerns of this section. Lastly, metaphor and simile are discussed as stylistic elements not confined to individual sentences or passages but extending over an entire work, and as the means by which visual and auditory impressions are conveyed to the reader. The traditional types of simile and metaphor, "as if" and "as though" clauses functioning as similes, and metonymic images are analyzed with the intention of demonstrating the relationship between technique and vision. / Arts, Faculty of / English, Department of / Graduate

This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively

Carl Czerny (1791-1857), whose works number over one thousand opuses, had an active career a composer, pianist, exponent of Beethoven, piano teacher, and theorist. He has received lots of criticism both during his lifetime and ever since. Even nowadays, though many of his piano exercises are popular items for many teachers and pupils ranging from beginners to virtuosi, Czerny is still rated as a master of mechanical works that focus mainly on the right hand. This study will argue that Czerny is much underrated, particularly as a pedagogue, and aims to find out what are the underlying principles that Czerny embedded in his piano pedagogical works, what made them indispensable in the teaching of piano playing and to what degree they present other musical elements which are not purely mechanical in order to reassess Czerny?s achievements in the field of piano pedagogy. The discussion is based on the original English edition of Czerny?s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), its Supplement, as well as Czerny?s other pedagogical works, such as Op. 139, Op. 299, Op. 365, Op. 755 and Op. 821. In addition, other selected pedagogical works and representative keyboard method books and exercises (excluding works for the organ) by other authors up to Czerny?s time are discussed for enriching the discussion. Through a detailed analysis of Czerny?s Opus 500, this study identifies fifteen parameters in his teaching sequences that range from beginner to virtuoso and the findings are clarified and contextualized within the field of 19th century piano pedagogy. These fifteen parameters are also exemplified in four selected opuses of Czerny, and through the ?Exam Pieces? of The Associated Board of the Royal Schools of Music. These are used to justify the applicability of the parameters in the learning sequences intrinsic to the graded piano qualifying examinations nowadays. It is argued that in view of the rich pedagogical content of Czerny?s work both technically and stylistically, together with the systematic teaching sequences that he presented in his piano pedagogical works, Czerny?s contribution to the art of keyboard playing should be well acknowledged.

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This study examines the origins of Willard's Hotel, Washington, D. C.; its growth into first-class status; and its role as a para-political agency during Abraham Lincoln's nine-day sojourn prior to his first inauguration in 1861. The research for this study was based on the Joseph Willard papers and the Willard's Hotel Register, 18601861, located in the Manuscript Division, Library of Congress. Additional interpretation came from the Indiana Historical Society where staff members demonstrated methods that helped the investigator decipher the names in the Register. Other primary sources mere used to discover Washington, D. C., and Willard's Hotel during this period.In 1861, Washington, D. C., was considered by many journalists and visitors to be a small town plagued with many problems. Numerous uncompleted government and public buildings stood throughout the city. The diverse, transient population was based on the seasonal character of Congress. And the city continued to suffer from annoying diseases and moral bankruptcy.Another problem complicating Washington's environment was the deplorable condition of its streets. Of the numerous thoroughfares, Pennsylvania Avenue was the most popular and most often criticized avenue in the city, especially the mile and a half between the Capitol and the White House. Journalists and visitors desiring overnight room and board rushed to the Avenue in hopes of finding first-class accommodations in one of the four major hotels.The most popular of the four hotels was Willard's at Fourteenth Street and Pennsylvania Avenue. Located only two blocks from the White House, Willard's eventually became the center of social, economical and political activity in the capital. Willard's was large and impressive, with a luxurious interior, a well-trained staff and modern services to accommodate the guest. The success of the Willard's was based on the ingenious management of Henry and Joseph Willard.By 1861, Willard's reputation as a first-class hostelry attracted many high ranking politicians. More importantly, on February 23, 1861, President-Elect Abraham Lincoln stayed at Willard's until his inauguration March 4. The tempo of guests arriving at Willard's remained at a high level until the day Lincoln departed for his inaugural speech. Hordes of people crowded Willard's lobby in the short nine days, hoping to see the President-Elect. Among the crowd were sundry office-seekers in search of political patronage and favors.Perhaps most interesting of the guests were the political lieutenants registered at Willard's. Representing state and national political leaders, the lieutenants' main concerns were the distribution of patronage. Indeed, each of them attempted to manipulate the final political appointments that would be determined by the President-Elect. Interestingly enough, Lincoln was more inclined to give ear to political lieutenants than to the common office-seeker.Because of the presence of Lincoln and the political lieutenants, Willard's served as the vital place where political activities could take place. The findings of this study indicate that Willard's provided the nation's capital with a public house where decisions were made and political positions formulated which would later have direct influence in governmental policies.