Dostoevsky--the master novelist--is a unique product of the Russian tradition . He inherited the values of Orthodoxy, of Slavophilism, of Westernism, of rationalism and of romanticism and in his turn contributed to almost every subsequent manifestation in literature from the enlightened mysticism of Aldous Huxley and the pessimism of Hardy to the despair of modern atheist existentialism and the pessimistic optimism of Berdyaev and Marcel. Dostoevsky's work is the joy of all those who delight in paradoxes--and Berdyaev revels in them . His great novels are at the same time different from and more than they seem . They are symbolical and allegorical on the highest level . At least that is how they affect me and how they seem to affect Berdyaev. I would like at this time to express my deep appreciation to Dr. J. St .Clair Sobell, Head of the Department of Slavonic Studies at the University of British Columbia, for his great generosity and encouragement; to Dr. Cyril Bryner for his unflagging assistance, cooperation and understanding; and to Mr. A.W Wainman, who was the first to confront me -with the 'tortured questionings' of Dostoevsky . / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This study describes the integration of harmonic idiom and tonal design in Schoenberg's First Quartet, op. 7. Two general questions are answered: whether the composition should be judged by common-practice-period norms, and whether a coherent tonal structure is truly discernible. Chapter 1 first surveys the existing literature. It then describes a prime motivator of foreground chromaticism in the quartet—the chromatic surrounding of tonic and dominant pitches—and discusses two features of large-scale pitch organization applicable to Schoenberg's first-period music that contravene common-practice-period norms: tonal structure consisting of a pattern of keys, and systematic use of dual or even multiple tonics in place of monotonality. Examples illustrate three types of graphic representation of tonal duality to be used in the study. The next four chapters describe tonal process within and across the four "movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which studies Part I, reveals systematic avoidance of V-I function in the opening key, D, tonal rivalries between D and each of its two semitone-related keys, and the beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on Part II of the quartet, demonstrates continuation of the rivalry between tonics D and Dt> by their use as competing secondary tonics within the Scherzo, and the harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4, on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the furthering of the tonal plot in a section that engages in a "plagal" system of tonality, and the beginning of a large chromatic surrounding of A. Chapter 5 shows that Part IV eschews a simple relationship between the A-major tonic of the Rondo and the D-major tonic of the Coda by allowing the infiltration of elements of the Db-major collection. Chapter 6 summarizes the evidence contradicting a monotonal understanding of the composition and reviews evidence that the demonstrated multi-tonal coherence is part of the musical reality of the work. / Arts, Faculty of / Music, School of / Graduate

This thesis explores Arnold Schoenberg's use of meter in Das Buck der hangenden Garten, Opus 15. The thesis works from the premise that Schoenberg treats meter in a manner analogous to that usually associated with pitch material: meter is motivic in nature, and can be subjected to developmental techniques. The concepts of fluctuating meter and suspended meter are developed, and used to describe the music; these concepts are derived from an analogy with Schoenberg's own terms schwebende Tonalitat and aufgehobene Tonalitat (fluctuating and suspended tonality). Selected excerpts from the song cycle are analyzed. The analyses focus on issues of meter, although some pitch analysis is used to complement the discussion. / Arts, Faculty of / Music, School of / Graduate

The problem of a method of historical analysis played an integral part in the scholarship of Ernst Cassirer, German philosopher and historian. An Essay on Man, the work for which he is best known in the United State, includes his most lucid discussion of the tasks and aims of the historian. The historian must reconstruct the past, infusing it with the immediacy of a living expression. “Rebirth of the past” gives man a better view of his potentialities, a freedom to see beyond the demands, characteristics, and contingencies of the moment. This view of history and the historian’s task was reiterated by Cassirer in several of his works on theory and was implicit in a number of his books and articles on historical topics. The following critique will focus on Cassirer’s discussion of history and on his historical method as it was demonstrated in several of his writings. Despite the criticism of Cassirer’s penchant for structure and affinity for schemata, he has had a profound influence on the general community of historians. His work in many areas was unique and he did considerable original research. He has had some influence on subsequent historians, especially with some of the specifics of his data. Even the abundance of criticisms of his works attests to the to the seriousness with which he has been viewed as a historian.

The problem of this study was to present an intellectual picture of a man who is too often written off as a mere politician and a failure at that. In approaching the problem, his works were used heavily, though availability was a problem. Francois Guizot, the man studied, wrote profusely, on a large variety of subjects, including philosophy, religion, history, political theory, and education. All of these areas were covered in the study. His private papers and correspondence are, for the most part, unpublished, though the eight volumes of his Me´moires were extremely helpful. There are many good biographical studies of Guizot, though few of them approach him from an intellectual viewpoint. One of the few that does, by Sister Mary Consolata O'Connor, is not sufficient. The conclusion of the present study is that Guizot is an excellent representative of liberal French bourgeois thought, especially in the first half of the nineteenth century, who is too often written off as a reactionary or, as Douglas Johnson says, a mere frustrated politician.

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This thesis has been written with several goals in mind. The first purpose has been to inform the reader about the life of Charles Ives and the influences he experienced that gave him the impetus to experiment and write music of a nature thirty years ahead of its time, while the rest of the world was basking in the waning light of Romanticism. The second purpose has been to describe in a short space general characteristics that may be found throughout the entire musical output of Ives. The third purpose has been to analyze in greater detail the major portion of his contributions to piano literature, the three piano sonatas, so that the student may better understand the complexities which will face him in performance of these compositions. Perhaps the strongest motivation for the present study has been the hope that it might induce more students to be explorers themselves and become familiar with this music of Ives.

La thèse cherche à démontrer que la philosophie de la culture, articulée aux thèmes fondamentaux de l'histoire et du politique dans la pensée critique d'Ernst Cassirer - dont le but méthodique et thématique est d'embrasser et d'unifier toutes les différentes activités de l'homme, pas seulement les divers champs de la philosophie et de la connaissance scientifique - relève le défi de l'engagement spirituel de notre temps. De plus, la thèse montre que dans l'œuvre du philosophe, l'effort de la pensée vers une totalité respecte les différents modes du savoir, propres aux sciences de la culture et les différentes modalités d'orientation vers le "monde" à travers les formes symboliques. La philosophie de la culture tend vers la connaissance de soi et s'épanouit dans l'humanisme universel. Elle est aussi, comme toute philosophie véritable, une méditation sur l'acte de philosopher et sur la philosophie elle-même.