Emily Dickinson's seclusion is explored in light of her family's strange entanglement with the Todds. Austin Dickinson's affair with Mabel Loomis Todd, and the effect on the lives of Susan Dickinson, Lavinia Dickinson, Martha Dickinson Bianchi, David Todd, and Millicent Todd Bingham, provide a steamy context for the posthumous publication of Emily Dickinson's poetry. The screenplay includes original music (inspired by the dashes and an old hymn) for two poems: "Wild Nightsl Wild Nights!" and "Better - than Music!" Also included are visualizations of many of Dickinson's images, including "circumference," "Eden," "the bee," and "immortality."

This dissertation is a study of Liszt's formative years in Paris, with a particular focus on three of his mentors: the priest Félicité Lamennais, the poet-statesman Alphonse de Lamartine, and the musician and mystic Chrétien Urhan. Of all the important figures Liszt encountered during this period, Lamennais, Lamartine and Urhan stand apart in their pursuit of a prophetic mission, whether in religion, politics, art, or a combination thereof. I contend that their influence--more than any other--shaped Liszt's fundamental identity as a liberal Catholic artist, dedicated to social and artistic progress driven by faith. I begin with an introductory chapter on important developments in Paris before and during Liszt's time in the city. The instability of the French Revolution resulted in a dynamic society in which new political, religious, and artistic movements could form and interact. Republican values continued to seek a foothold in the oppressive climates of the Restoration and July monarchies. Similarly, the Church--reinstated by Napoleon but still greatly diminished in power--struggled for relevance in an increasingly indifferent society, leading many Catholics to embrace liberal causes. Finally, the emergence of a new generation of Romantic artists dedicated to leading society forward emerged as an unexpected legacy of the Enlightenment. Each of the three central chapters of this dissertation focuses on one of the figures listed above, and on their impact on Liszt's life and music. Lamennais' radical political and religious message encouraged Liszt to express similar views in word and in music. Lamartine's innovative religious poetry prompted Liszt to seek an equivalent in music. Finally, Urhan's seamless merging of sacred and secular music inspired Liszt to adopt a similar approach in his own compositions. In the final chapter, I trace the continued impact of these figures in Liszt's life and work. Ultimately, I argue that the groundwork for Liszt's most celebrated artistic innovations had already been laid in the early 1830s, and that many of his later works are only comprehensible within the framework of the political, religious, and artistic education he received in his youth.

"The Concept of 'the Human' in the Work of Hermann Hesse and Paul Tillich" is an interdisciplinary study in theology and literature. Three chapters each on Hesse and Tillich discuss the life work, and critical significance of both men. The seventh chapter compares their similarities and their contrasting views. In his work Hermann Hesse singles out the artist as the best example of true personhood and believes that individuals become fully human by being aesthetes, possessing ironic humor, learning to love unconditionally, expressing themselves while at play, transcending themselves through magical thinking, i.e., bringing into harmony the polarities of life, and finally, by assuming ethical responsibility for life to the point of sacrificial service. In the work of Paul Tillich existential man experiences estrangement, but essential man possesses a vision of wholeness and therefore of potentiality. However, maturity is to be found in becoming reconciled. Jesus as the Christ is the New Being who reunites man with God, Sanctification describes what it means to be fully human, and participation in a theonomous culture requires that one help make human life more human for others. The final chapter compares the life and work of Hesse and Tillich and concludes; both men have a tripartite view of human nature, they recognize the ambiguities of life as well as the demonic element in man, perfection is beyond an individual's grasp hut fulfillment is not, and both men are humanists who oppose dehumanization. They differ in that Tillich is more interested in ontology than in psychology, Hesse stresses self-realisation, whereas Tillich: stresses becoming whole by way of reunion with Being-itself. Hesse appreciates the aesthetic and ethical stages of life but lacks Tillich's emphasis on the depth dimension. Hesse's answer to the human situation is autonomous rather than theonomous as advocated by Tillich. The implications of both Hesse's and Tillich's thought include the following: becoming fully; human is a lifelong process; man is most human when he reflects his best self or the image of God; being human must address itself to the perennial problems of man (sin, suffering, and death); anthropology rather than dogmatic theology is the arena in which the theological enterprise should take placer and finally. the contemporary church needs to be aware of the necessity for both personal religious experience and social action.

In March, 1990, I was hired to teach English in Japan at a small, private academy in Chitose, Hokkaido. The school was called the Academy of Clark's Spirit. My first day at work I was asked by my boss, Sato Masako: "So Mr. Walker, of course you know who Dr. Clark is?" I told Mr. Sato that I was sorry, but that I did not. "You said in your resume that you are a history student? We named this school after him. He's one of the most important people in Hokkaido's history," he said, looking disappointed. Mr. Sato explained that he wanted me to teach with the spirit of Clark in mind and bring to his classrooms what Clark brought to Hokkaido over a hundred years before. I nodded and asked to see my apartment. I began this study of William Smith Clark after my first stay in Hokkaido. It is the product of my interest in modern Japanese history, particularly Japan's relationship with the United States. The first leg of this project was started in Amherst, Massachusetts, where I met with Dr. John Maki. He directed me through the Clark collection at the University of Massachusetts at Amherst. I had several interviews with Maki during the week I was in Massachusetts and was given liberal access to the Clark collection under his influence. The second leg of my study was continued in Sapporo, Hokkaido. I met with Dr. Toshiyuki Akizuki at Hokkaido University and was shown through the Clark collection there. I lived in Hokkaido for about two years and have kept notes on the tribute paid to Clark and visible signs of his impact on the northern island. The focus of this study is to look at Clark's contribution to the development of Hokkaido by detailing his work in education, Christianity, and agriculture. By focusing on Clark's particular contribution to Hokkaido a larger historical trend, that is, the importation of foreign ideas in the history of Meiji Japan, is better understood. ~he results of this study conclude that Clark was an important figure in the history of Hokkaido's settlement, and to the development of nineteenth century Japan.,. ,Clark was also an important figure in the history of the relations between Japan and the United states., It is in lasting institutions like Hokkaido University and the Sapporo Independent Christian Church where Clark's impact is best illustrated. These institutions, particularly the university, were the nerve centers for Hokkaido's development, and Clark planted these seeds of enlightenment, under the direction of the Meiji government, in the fertile northern soil. I have gained a better understanding of Clark's stay in Hokkaido because of this project, but doubt that I could even now satisfy Mr. Sato's insistence that I teach with Clark's spirit. I do understand, however, why it was important to Mr. Sato that I try. Clark's phrase "Boys Be Ambitious" still embodies the spirit of many educators in Hokkaido and his success with Japanese students is one of the better examples of international exchange in any country. Clark is cherished by the people of Hokkaido as the spiritual pioneer of their island even though his stay

No description available.

L'écrivain doit « "[c]réer la valeur" », puis « reconstruire un édifice de valeurs ». Cet impératif formulé par Broch dans son essai « Le Mal dans les valeurs de l'art » constitue aussi le programme narratif de son roman Les Somnambules, œuvre polyhistorique - pour recourir à l'appellation générique qu'emploie le romancier - qui mime, et peut-être même accomplit, le processus à l'issue duquel les forces de l'Irrationnel sont canalisées pour faire l'objet d'une rationalisation. La nouvelle rationalité que s'efforce de créer Broch au moyen du polyhistoricisme, genre associé par l'auteur au « roman nouveau dans sa polyphonie à la fois rationnelle et irrationnelle », doit selon lui fournir un socle aux nouvelles croyances religieuses appelées à supplanter celles véhiculées par le christianisme, ce système axiologique totalisant qu'il convient, estime-t-il, de remplacer par un nouveau, dont la création est d'ailleurs anticipée dans l'ensemble de sa production littéraire. Roman polyphonique au sens où le discours scientifique s'y présente comme le contrepoint du discours irrationnel, Les Somnambules se propose, plus précisément, de fonder la nouvelle rationalité à partir de la prise en considération des motions psychiques inconscientes qui structurent la pensée. Le rapprochement entre la raison et ce qui excède les frontières imparties à l'entendement n'étonne guère lorsqu'à la lecture de Broch, on constate que toute grande religion permet de convertir de nouveaux fidèles, c'est-à-dire de susciter chez eux une illumination mystique ne pouvant être décrite autrement qu'irrationnellement, même si les membres de cette religion poursuivent, en contrepartie, des objectifs définis, le plus souvent, rationnellement. Ainsi, les dévots luttent, dans le meilleur des cas, contre le paganisme et sont appelés, toujours selon Broch, à faire de même en ce qui concerne les avatars de cette religion - fascisme, totalitarisme - cela en vue de prévenir l'apparition des symptômes se manifestant lors du déclenchement de délires collectifs. L'œuvre romanesque de Broch, envisagée ici à l'aune des Somnambules, est travaillée de fond en comble par les antinomies (rationnel/irrationnel, proche/lointain, souvenir/oubli, familiarité/étrangeté); il en va de même en ce qui a trait aux publications « scientifiques » de Broch, commentées en ces pages dans le cadre d'une analyse portant sur la doctrine axiologique incorporée à l'intrigue romanesque des Somnambules et sur la Théorie de la folie des masses, du même auteur. La stratégie de lecture adoptée dans le présent mémoire consiste à déplacer les frontières, voire à remettre en question leur légitimité, tracées - parfois arbitrairement par les critiques fréquentant l'œuvre de Broch - entre le roman de la connaissance irrationnelle et son indispensable complément, la philosophie scientifique, dont l'apport est susceptible de contribuer, croit le romancier, à éveiller (au sens métaphorique du terme) ses contemporains; notre auteur incite ceux-ci à re-découvrir les fondements de la Réalité, lesquels résident dans l'amitié, le sentiment amoureux et l'expérience de la mort, comme il l'écrit dans La Mort de Virgile. Les trois composantes du Réel sont également appréhendées lors de l'acquisition de la connaissance irrationnelle : le noyau de la science est le pré-savoir acquis intuitivement par le somnambule ou le rêveur. Ce noyau ainsi que ce qui l'enveloppe constituent le cœur de notre propos. Nous nous intéresserons donc, dans les pages à venir, à la dialectique du Rationnel et de l'Irrationnel. Les théories de la connaissance de Platon, Descartes, Kant, Cassirer, Jung, susciteront aussi un engouement chez nous. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : polyhistoricisme, littérature religieuse, roman gnoséologique, philosophie du roman, langage de l'immédiateté, position de valeurs, éthique, esthétique.

Inna Sevelius: Bristande självhävdelse och självständighet: En studie av neurosbegreppet hos Tora Sandström. Uppsala universitet: Inst. för idé- och lärdomshistoria, magisteruppsats, vårtermin, 2010.   Uppsatsens syfte är att bidra till historiseringen av neurosbegreppet genom en analys av begreppet hos en kvinnlig pionjär inom psykoanalysen i Sverige. Studien inbegriper en diskussion av Sandströms neurosbegrepp i relation till annan samtida psykoanalytisk teori och andra samtida tankeströmningar samt en analys av begreppets konsekvenser för Sandströms syn på barnuppfostran och på den terapeutiska praktiken. Enligt Sandström uppstår neuroser pga bristande självhävdelse under uppväxten. Hon betonar särskilt aggressionshämningens betydelse. En bristande självhävdelse leder enligt Sandström till osjälvständighet, men min analys visar på en könsskillnad i detta avseende. I linje med samtidens essentialistiska och komplementära syn på kön beskriver Sandström författaren Ernst Ahlgrens strävan efter självständighet som neurotisk. I senare skrifter antyds däremot könsskillnader baserade på uppfostran. Sandströms neurosbegrepp är vidare förankrat i biologin. Hon diskuterar såväl människans medfödda förutsättningar för psykisk utveckling med koppling till samtida evolutionsteori som neurosens kroppsliga symtom och visar här ett tidstypiskt intresse för psykosomatik. I sin syn på barnuppfostran ligger hon i linje med den samtida s.k. frihetspedagogiken. Sandström invänder mot Freud i flera avseenden, men framför allt när det gäller hans fokus på sexual-hämning som den väsentliga orsaken till neurotiska besvär. Min analys visar – till skillnad från tidigare forskning – att hennes relation till Alfred Adler är ambivalent. Förmodade influenser från Wilhelm Reich samt den norske psykoanalytikern Harald Schjelderup hör också till sådant som inte uppmärksammats av tidigare forskning.

This dissertation demonstrates that irrationality in representative modernist novels is a significant and valuable feature of subjectivity. Building on contemporary theories of the novel, the thesis develops two closely related issues: the novel as an aesthetic vehicle of subjectivity and the novel as a reflection of its socio-historical moment. In major novels by William Faulkner, Hermann Broch, and Virginia Woolf a surrender to irrationality is paradoxically portrayed as a positive act which can contribute to a more complete fulfilment of the self. Furthermore, twentieth century notions of the self are often expanded, complicated, or revised at least in part through the genre of the novel which is used to represent them. / In three main chapters, the thesis draws an original link between studies of the novel as genre on the one hand, and explorations of the meaning of irrationality in early twentieth century fiction on the other. The first on Faulkner includes a section outlining my research into the theoretical domain of subjectivity, irrationality, modernism, and the novel which serves as a background for Faulkner, but remains pertinent also to the chapters on Broch and Woolf which follow. With reference to recent social theorists, philosophers of the novel, medical researchers, and literary critics, the dissertation establishes that Faulkner Broch, and Woolf construct works which advance the notion that irrationality can be conducive to the development of an autonomous, private self which is actively engaged in the outside world. Moreover, in each of the novels at the centre of this study, irrational characters personify an aspect of the novel which is essential to the structural development of the genre. / Key works by Faulkner, Broch, and Woolf insist that irrationality is at the core of a dynamic and modernist representation of identity. In novels by Faulkner, irrationality contributes to a flexible sense of time and to the elaboration of a valuable intersubjective communication. In Broch's trilogy, an irrational approach to reality encourages the development of a temporal, ethical, and subjective freedom. For Woolf, the validation of irrational impulses restrains a compulsive and debilitating drive towards introspection and facilitates social interaction.

This study traces in Mallet-Stevens' architecture a temporality proper to the photographic image, latent in the space of the moderns of the 1920--1930. To this end, I present both an analyses of Mallet-Stevens' work and a photomontage on the Noailles and Cavrois villas, which combines my photos with historical documents. The montage reveals in these spaces a perceptual quality of the image germane to Merleau-Ponty's notion of flesh. The analysis develops this notion along the lines of 'the grain and the skin'. It reveals in Mallet-Stevens' work the capital importance of his experience, as movie set designer. Indeed, space is conceived by Mallet-Stevens in relationship to a camera frame: therefore the primary medium is the surface (the grain), where the emotional effect of temporality takes place (the skin).

In the canon of twentieth century American poetry, "long poems" or "anti-epics" or epic poems represent a formidable genre. Defining epic poetry has proved difficult in our modern era, and the possibility that women might write epics is not often considered. This study includes a review of the literature that may define the epic genre and of the literature that contributes to our understanding of a tradition of women's poetry in American literature. The review of both issues--possible epic poetry and women's poetic tradition--is a necessary prerequisite for considering the argument that H.D.'s iielen in Eavpt and Gwendolyn Brooks's In the Mecca are twentieth century epics. With the focus on a female heroine, on personal and interpersonal values, and on a reconsideration of cultural lieroism, these poems are important literary contributions in addition to being "revised" epics.A revision of the epic signifies that the poet has found a way to accomplish individual expression in this familiar genre, a genre characterized by narration, cultural themes that may be didactic, and multiple voices for the poet. H.D. and Brooks have revised the genre of epic poetry in unusual ways. H.D. has taken a legendary figure, Helen of Troy, and made her the primary speaker and the seeker of truth. Instead of the classical glorification of war, Helen's quest includes a renunciation of war and a reconsideration of the ways we know ourselves and our history. Brooks has made an "unknown" black woman the center of her urban epic. Mrs. Sallie's quest, initiated by the real search for a missing daughter, becomes a quest for the meaning of family, community, and selfhood.Revising the genre was a unique process for both H.D. and Brooks, and studying Helen and Mecca together emphasizes the diverse traditions--literary and nonliterary--that may elucidate our understanding of each poem. Moreover, only refers to a "a genre revised" by H.D. and Brooks not only refers to a revision of epic poetry but to poetry as a whole. Each woman created her own blend of "traditions and individual talent" in order to produce Helen in Egypt and In the Mecca. / Department of English