This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

Doctor of Philosophy / Leadbeater was a man who made the most startling claims for himself, and made them in a very matter-of-fact way.[4] He declared that he had penetrated the depths of the atom by his psychic powers, discovered the ultimate unit of matter whilst sitting in a park on the Finchley Road in London, and had psychically extracted individual atoms of various elements from the showcases in the Dresden Museum whilst he reclined several miles away. He also claimed to have sent sea spirits to dig out atoms of another element from the mines of Sabaranganuwa in Ceylon while he lay in his bed in Madras in India.[5] He claimed to have explored most of the planets in the Solar System, while his body remained on earth, and described their climates and inhabitants in some detail.[6] He claimed to be in regular communication with the Powers which govern the earth from the Inner Planes, the Masters or Mahatmas, the Supermen who constitute the Occult Hierachy of this planet. And, so he said, he conducted parties of pupils to the secret places in Tibet where these same Masters resided, while the bodies of both the pupils and their guide slept securely in their beds.[7](Excerpt from Introduction pp.3-4)

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.

Paul Hindemith traveled to London in 1936 intending to give the British premiere of his concerto for viola and chamber orchestra titled Der Schwanendreher on 22 January. The premiere--and much else--was put into question a few minutes before midnight on 20 January 1936, however, when King George V passed away. The next day, Hindemith worked from 11:00 A.M. - 5:00 P.M. composing Trauermusik (Music of Mourning) for solo viola and string orchestra as a tribute to the recently deceased King of England. Thus, the circumstances surrounding the compositional origin of this piece invite a discussion of mourning in both a historical and musical context. In this paper, I will touch on issues such as how mourning defines us as humans and how emotions associated with mourning can be represented in music and experienced by the listener. I will illustrate how mourning helps us to understand the meaning of Trauermusik when it was written and first performed in 1936, following the death of King George V. To do this I will use Maurice Blanchot's ideas from his La Communauté inavouable, specifically his discussion of how death and mourning help to both define humans and bring them together into a community. Having established this critical framework, I will then provide a hermeneutic reading of Trauermusik, using analytical insights based on Hindemith's use of the 0167 pitch collection as my evidence. At the heart of my thesis is the belief that combining both historical insights and detailed analytical knowledge of Trauermusik will heighten the listener's experience of the piece to a greater extent than either perspective could on its own. / text

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The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul. / Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers. / Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.

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How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation? / This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside. / Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.

This creative project presents an overview of the architectural styles and history of the surviving commercial architecture of A.M. Strauss in Fort Wayne, Indiana. He was the best known architect working in Fort Wayne during the period covered by this creative project, and his work is an excellent example of how national architectural trends affected architecture in Fort Wayne. His commercial architecture represents his best known and most significant work. He did far too many buildings to cover in a single thesis, and so his residential and institutional architecture in Fort Wayne remains for another study, as do his many works outside of Fort Wayne. This project also brings together in one treatment as much photographic, historical and architectural documentation of these buildings as possible — documentation now scattered across east central and northeast Indiana. It traces Strauss's stylistic changes from Spanish Eclecticism through Art Deco and Art Moderne to Modernism. The surviving buildings represent each of these styles and shifts in historical context. / Department of Architecture

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