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Much of W. H. Auden's most brilliantly evocative poetry was written during the 1930's. His skill in catching the tones, the topics of his time, and his ability to evoke its moods and its social turbulence are unequalled among those of his generation writing of political unrest, international crises and revolution. It is no surprise that the word "Audenesque" has become part of the language of literary criticism describing a particular poetic style. Yet it was his poetry of the '30's that Auden later in his life revised and/or repudiated, creating textual problems involving basic critical issues related to literary interpretation, readers'responses to much-revised poems, and to the way that textual scholars approach the determinate relations among poems as first printed and subsequent, altered versions that are also authoritative. Traditional textual criticism cannot address all of the problems caused by Auden's extensive overhauling, nor can it provide evidence that some of Auden's harshest critics--the British Scrutiny group headed by F. R. Leavis and American critics Joseph Warren Beach and Randall Jarrell--may have dismissed him as a major poet too soon. But a method of textual treatment called versioning--the presentation of the complete texts of two or more different stages of a literary work--may be the most useful and efficient method of textual treatment for authors like Auden, and for readers and critics who might wish to assess the significance of Auden's revised works by comparing them with original texts. / Department of English

This thesis attempts to determine whether the Russian chemist, Dmitrii Ivanovich Mendeleev, was open to Western ideas and capital in the Russian petroleum industry. It does so by examining five of his trips to study this business, as either an advisor to the Russian government or a private consultant. These voyages took place between 1863 and 1886 and saw Mendeleev in France, the United States and the Caucasus. Each trip produced a combination of personal letters, diaries, and published articles. This work employs a mixture of published and unpublished archival documents. In the process, much is revealed about the history of this industry, its industrialists, as well as Mendeleev's personality. / The introduction outlines the general questions that this thesis aims to answer. Chapter one summarizes Mendeleev's life until he first worked in the oil industry in 1863. These formative years were crucial for Mendeleev. His youthful travels around Europe, studies in Germany and personal inclinations, made him a multi-lingual and cosmopolitan individual. The remaining five chapters examine Mendeleev's trips to study the industry. An epilogue briefly recounts his final years. / The conclusion of this thesis is that contrary to Soviet scholarship, Mendeleev was open to the West. His only requirement was that Western ideas and capital assist in the growth of the Russian oil industry and result in abundant and cheap kerosene for the Russian population.

The geologist James Hector (1834-1907) was, by any measure, the most important and influential scientist in nineteenth century New Zealand. In the mid 1860s, he became the first Director of the New Zealand Geological Survey and the Colonial Museum. Thereafter he ran the Colonial Laboratory, set up the Meteorological Service and the Wellington Botanical Gardens and was responsible for the establishment of the New Zealand Institute, acting as its manager and editor of its Transactions and Proceedings for more than 30 years. This work explores the formative years of his career from his early years in Scotland, his experiences with the Palliser Expedition in Canada, and pivotally, his first four years in New Zealand as the first Otago Provincial Geologist. By the time of James Hector�s entry as a medical student to Edinburgh University in 1852, he had already developed a strong interest in natural history, particularly geology. Although he graduated M.D. from Edinburgh in 1856, that course of study served only as a means of access to the natural sciences. Hector�s interest and training in geology developed at an opportune time, when there was increasing demand for geologists to explore the expanding industrial British Empire for coal and other mineral raw materials. Hector�s reputation in geology in Edinburgh brought him to the attention of that most influential British geologist, Sir Roderick Murchison, whose recommendation led to his appointment to the British North American Expedition of 1857 (the Palliser Expedition). Hector was acknowledged, on several counts, as a major contributor to the success of the expedition. When the Otago Provincial Government in New Zealand requested advice on the appointment of a geologist for the province, Murchison predictably proposed Hector. Having reviewed and assessed his work in North America, this thesis deals with the arrival of Hector as Otago Provincial Geologist in Dunedin during the prosperity of the gold rush of the early 1860s. For the first nine months he explored the central and eastern areas of the Province (Chapter 2) and the following year led the exploration of the West Coast, where there was potential for coal, gold and timber-and reputedly copper-and the prospect of providing a commercial route to Melbourne. The two month long expedition up the Matukituki Valley preceded the exploration by ship of the West Coast of the South Island as far north as Martins Bay. The latter became a major triumph on the strength of the contemporary perception of a route between Queenstown and Martins Bay potentially opening up a direct contact between Dunedin and Melbourne. From mid-1864, Hector�s life was governed by the organisation of the International Exhibition, which opened in Dunedin in January 1865. In that context, he travelled to seek support and participation from the other provinces of New Zealand, a political and administrative commission which he combined with geological exploration. After the closure of the successful Exhibition in May 1865 and subsequent to the conclusion of his appointment on 1st April 1865, Hector left Otago in August to take up the newly created post of Director of the New Zealand Geological Survey in Wellington. The parting was not administratively smooth and relations between Hector and the Otago Provincial Government were strained by the lack of a final, definitive, report on the Geology of Otago. An overview of Hector�s geology, specifically his interest in coal and gold, and the evolution of his views on the vexed question of the role of glaciers as geomorphologic agents is provided. James Hector was a man of versatile ability and strong leadership. His scientific skills as a field geologist and the administrative abilities, developed during his explorations in British North America and southern New Zealand, led ultimately to his long and successful career as New Zealand�s chief scientist at a formative time in its history.

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-08-17Bitstream added on 2014-06-13T19:55:18Z : No. of bitstreams: 1 aredes_acl_me_assis.pdf: 680622 bytes, checksum: dca71889a3d2c3a3cf37986c29203362 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Paulo Rónai (1907-1992), húngaro de nascimento e brasileiro por adoção, possuidor de uma formação humanista que o possibilitou atuar em várias áreas do conhecimento, das quais podem ser destacadas a crítica literária, o magistério, a lingüística e, segundo ele próprio, principalmente a tradução, divulgou seus estudos tanto em livros quanto em jornais e revistas. Refugiado no Brasil durante o período da Segunda Guerra Mundial, o crítico encontrou nos cadernos culturais dos principais jornais brasileiros o espaço de que necessitava para continuar no seu ideal de divulgação de conhecimento e cultura, dando-se a esta palavra um sentido dos mais amplos possíveis. Dessa forma, o objetivo deste trabalho foi o estudo sistemático de toda a colaboração do crítico para o Suplemento Literário do jornal paulistano O Estado de S. Paulo, o que totalizou cento e doze textos. Rónai iniciou sua colaboração no caderno em 1959, embora o início de sua circulação tivesse ocorrido em 1956, e marcou os limites de sua produção para o referido caderno com a publicação das resenhas Útil inda brincando e Um homem dialoga consigo, publicadas em 3 de janeiro de 1959 e 1º. de dezembro de 1974, respectivamente. Além desse estudo sistemático, foi feito um breve levantamento do histórico dos suplementos literário-culturais, principalmente no jornal O Estado de S. Paulo, na tentativa de identificar características do contexto da produção de Paulo Rónai. Assim, também foram abordados, ainda que superficialmente, o Suplemento do Centenário e o primeiro ano de circulação do Suplemento Cultural. Através da análise dos cento e doze textos mencionados, foi possível identificar alguns ideais do autor, como, por exemplo, a preocupação constante em divulgar cultura, principalmente a letrada, além de algumas influências da crítica literária brasileira do século XX. / Paulo Rónai (1907-1992), húngaro de nacimiento y brasileño por adopción, poseía una formación humanista que le hizo posible actuar en varias áreas del conocimiento, de las cuales se pueden destacar la crítica literaria, el magisterio, la lingüística y, según él mismo, principalmente la traducción, divulgó sus estudios tanto en libros como en diarios y revistas. Refugiado en Brasil durante el período de la Segunda Guerra Mundial, el crítico encontró en los cuadernos culturales de los principales diarios brasileños el espacio que necesitaba para continuar con su ideal de divulgación de conocimiento y cultura, otorgándosele a ésta palabra uno de los sentidos más amplios posibles. De esta forma, el objetivo de este trabajo fue el estudio sistemático de toda la colaboración del crítico para el Suplemento Literário del diario paulistano O Estado de S. Paulo, lo que totaliza ciento doce textos. De esta manera, Rónai inicia su colaboración con el cuaderno en 1959, a pesar de que el comienzo de su circulación hubiera ocurrido en 1956, y marca los límites de su producción para el referido cuaderno con la publicación de las reseñas Útil inda brincando y Um homem dialoga consigo, publicadas el 3 de enero de 1959 y el 1º de diciembre de 1974, respectivamente. Además de este estudio, y con el objetivo de identificar las características del contexto de la producción de Paulo Rónai, se realizó un breve relevamiento de la historia de estos suplementos literario-culturales, principalmente en el diario O Estado de S. Paulo. Así, aunque en forma superficial, también se abordan el Suplemento do Centenário y el primer año de circulación del Suplemento Cultural. Mediante el análisis de estos ciento doce textos, fue posible identificar algunos ideales del autor, como por ejemplo, su constante preocupación... (Complete abstract click electronic access below)

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The more attentively Auden's poetry is studied, the more one critical problem emerges. How can the poet of the "twenties and ' thirties be reconciled with the poet of the last three decades? "We've all got to come to terms with the later Auden" writes Professor Richard Hoggart, but he does not explain how. The man who wrote the pungent early poetry with its constant reiteration of warnings to a sick society that what was needed was " … death, death of the grain, our death, Death of the old gang … " before it could achieve "new styles of architecture, a change of heart", seems an entirely different person from the man who is on the side of Authority to-day; that is to say in so far as Auden can ever be said to be definitely on one side or another. Intro. p. 1.

The subject of this thesis is the comprehensive research and design of costumes for the play Ubu Roi by Alfred Jarry, including documentation of the creative process from the initial analysis of the play to the final designs. This play was written in the late 19th century and is considered to be a precurser to Surrealism and Theatre of the Absurd. The story is about the brief and tyrannical reign of a hideous, backward individual named Ubu, who comes to power by murdering the Polish king. The play is notable for its rough playfulness, ruthlessness with regard to social and cultural traditions, its open-mindedness and unique use of language. On the surface it comes across as a silly farce, but it contains many deeper undertones that cause Jarry to be sometimes regarded as a symbolist writer. This work is divided into a theoretical and practical part. The theoretical part deals with the author of the play, its content and the context in which it was written, and studies how it was staged in the past. It is not the aim to offer a coherent overview of the life of Alfred Jarry, his work, or the history of past productions of King Ubu. Instead, the information contained here is intended only as a documentation of the historical and theoretical research necessary to understand this work, which ultimately had an impact on the final designs. Part two documents the process of developing the costume designs themselves. Initially it introduces the key considerations that arose from reading the play that affected the overall progress of the work. There follows an analysis of the characters and situations based on the text, and sources of inspiration. The main section describes the final designs of the set and costumes that are supported by attached images.