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What did William Blake mean when he threatened the world with a “Bible of Hell” in The Marriage of Heaven and Hell (1790)? A critical survey of the history of scholarship on the topic reveals a variety of unsupported Bible of Hell canon theories among 180 critics. The most plausible theory (though not the most popular) among them is that the Bible of Hell comprises Blake’s eight core 1790-95 Illuminated Books—The Marriage, the Continental Prophecies (1793-95), and the Urizen Books (1794-95). My thesis supports this theory from several angles. Part I examines how The Marriage establishes a Bible of Hell program with four inclusion criteria by which the works of 1793-95 abide: (1) a rhetoric of diabolical revision, which reclaims the Devil as a Christological redeemer and exposes Yahweh as the Antichrist; (2) organization by contraries; (3) mock-biblical revision; and (4) illumination. Chapters 3-6 examine these criteria in their literary-historical contexts, first by tracing the genealogy of diabolical revision in satirical diabologies and mundus inversus literature and art of the seventeenth and eighteenth centuries. Chapters 4-5 examine aspects of biblical revision in the context of early Christian heresies, modern sects, Enlightenment biblical scholarship, speculative mythography, and biblical parodies. Chapter 6 considers Blake’s Bible of Hell in the context of the illustrated Bible market of the 1790s. Part II (Chs. 7-10) assesses Blake's works of 1788-95 according to these criteria, showing that the works of 1788-89 develop Bible of Hell features that culminate in The Marriage of Heaven and Hell and continue in the 1793-95 mock-biblical prophecies. Here the dissertation’s focus shifts to the conceptual evolution of the Bible of Hell in response to the failure of the French Revolution and its authoritarian backlash in England. Whereas The Marriage prophesied apocalypse as the righting of the upside-down world by a revolutionary, antinomian Christ, its 1793-95 sequels lose faith in revolution but critique biblical monotheism as the basis of historical tyranny. The final chapter examines conceptual tensions within the works of 1793-95 to hypothesize why Blake abandoned the Bible of Hell. / Thesis (Ph.D, English) -- Queen's University, 2012-07-31 12:36:56.964

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This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending." / I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function of "beginning" is performed by a "closing initial idea" and then, how the main theme's cadences express their proper function. Finally, I study what happens in other locations such as the return of the main theme, the cadence closing the form, and post-cadential material.

No abstract available. / Thesis (Ph.D.)-University of Durban-Westville, 1979.

Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.

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The heroines in Restoration and Augustan drama traditionally have been divided into the categories of sentimental and witty, with the former quickly dismissed as shallow and unrealistic, and the latter equally dispensed with after being classifies as clever and caustic. Both types of heroines deserve more than a cursory glance, however, because they are complicated, realistic and psychologically plausible characters.The sentimental heroines have never been closely analyzed, so their roles are examined first to establish that they are both realistic and human characters. This analysis is covered in Chapter I: Indiana in The Conscious Lovers by Sir Richard Steele: A Naïve Heroine; Chapter II: Lady Easy in The Careless Husband by Colley Cibber: A Virtuous Heroine; and Chapter III: Jane Shore in The Tragedy of Jane Shore by Nicholas Rowe: A Penitent Heroine. After a summarizing and dividing chapter, a transitional heroine is introduced in Chapter V: Millwood in The London Merchant by George Lillo. Millwood bridges the gap between sentimental and witty heroines. The witty heroines are then analyzed and contrasted in Chapter VI: Harriet in The Man of Mode by George Etherege: A Witty Heroine; and Millamant in The Way of the World by William Congreve: The Ideal Heroine, in Chapter VII. The purpose of the chapters examining the witty heroines is to demonstrate that while both sentimental and witty heroines are realistic, the witty heroines are more likeable, memorable and admirable because they exhibit more positive traits.The order of the plays was chosen for two reasons. The sentimental heroines are presented first because their roles have not heretofore been examined; therefore their explication is of foremost importance. The plays are also presented in ascending order of importance, culminating in the discussion of the ideal heroine of the Restoration and Augustan dramas—Congreve’s Millamant.

An extensive database of the tracks of tropical cyclones in the North Atlantic Ocean since 1851 is known as the North Atlantic Hurricane Database (HURDAT). While this database is valuable to public and private agencies, many of the deadliest hurricanes on record occurred prior to 1851. This study will address the research problem of the availability of historical information and the feasibility of collecting data and producing historical tropical cyclone tracks. This thesis describes a methodology for identifying tropical cyclones that existed during the one hundred year period from 1751-1850 referred to as the “pre-HURDAT era” in this study. Uncovering historical tropical cyclone tracks are important for researchers seeking long term patterns in the climate record. This study is a synthesis of all readily available historical data which can be used to identify the tracks of documented tropical cyclones that occurred during the pre-HURDAT era. To emphasize the applicability of historical hurricane tracks, a study comparing landfall patterns of landfalling east coast hurricanes was also done. These tracks were analyzed using historical chronologies, ship data, and other “regional literature”. / Department of Geography