Lumiere de nuit (Creative Works). The five short stories selected in Lumiere de nuit are linked by a central theme that can be described as a venturesome and initiatory quest in the larger story of Reality. The glorification of both the flesh and the spirit is recurrent and validated by the experience of existence. A disturbed atmosphere is imprinted in the inmost being of the characters who are compelled to undergo extremes experiences. The world that is given to them, or that they depict, is divided, the rhythm of life is syncopated as in jazz melodies. Their neurosis translates to the reader in short sentences that have the effect of mental short circuits. Lumiere de nuit, Quadrille, La femme violette, La tasse de the, and Le matin. Avec Beatrice surge at the frontier between Eros and Thanatos, in the tensive state that binds love and hatred, imagination and reality, uniqueness and doubleness. / The Rift: The development of the characters in Andre Gide's Les Faux-Monnayeurs (Critical Essay). Since it is both the witness and the subject of the novel, the protagonist is the most reliable barometer of the reversals that occur within. At the crossroad of times and literary trends, the gidian character, in its fruitful singularity, is a constant source of amazement. Haunted by doubt and fundamental interrogations, this protagonist exists only in imagining life, feels only in imagining feelings, and talks only behind different masks, names and destinies. All of which are the product of its imagination, of course. I intend to analyse the construction of this character, as difficult to seize and define as is Gide, in the author's most accomplished novel, Les Faux-Monnayeurs.

This thesis contains eight chapters. The first deals with Gide's knowledge of English, the second with his ideas on translation. The remaining six examine his versions of the following: Gitanjali by Rabindranath Tagore, parts of Leaves of Grass by Walt Whitman, The Post Office by Tagore, Typhoon by Joseph Conrad, The Marriage of Heaven and Hell by William Blake and the preface of The Old Wive's Tale by Arnold Bennett. The principal conclusions reached are that his English was alarmingly weak, that he must have depended a good deal on the help of others, that his theory of translation was extremely subjective, and that the translations examined, although original, concise and elegant (indeed more elegant than the English text in the case of the two works by Tagore), are too free as well as being simply erroneous in many places.

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This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.

Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.

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