No description available.

No description available.

No description available.

This thesis is an examination of Henry James and James McNeill Whistler as cultural analysts of modernity. Using the theoretical work of Peter Burger, Jurgen Habermas and Theodor Adorno as a frame, I analyse James's and Whistler's theoretical and artistic responses to modernity and the problematic status of autonomous art and the modernist artist in late nineteenth century industrial capitalism. In so doing, I place both figures in their social and historical context and show how their work not only reflects but itself participates in the complex social and cultural transformations of late nineteenth century society. While Henry James has continued to attract critical attention from many quarters, those who have studied him in the larger context of nineteenth-century avant-garde culture are still relatively few. Of those contextual studies, none has examined James's career and work in the light of parallel developments in avant-garde visual art during this important and complex period. James McNeill Whistler, like Henry James an American expatriate working in late nineteenth century London, has been the subject of many studies describing his formal achievement; however, he has not yet attracted the attention of critics interested in theories of modernist representation, gender and sexuality. Because modernisation was a phenomenon which had an impact on all aspects of late nineteenth century culture, as both James and Whistler themselves acknowledge, my interdisciplinary, contextualist approach to cultural production can illuminate aspects of cultural theory and practice which might remain hidden in analyses contained within disciplinary boundaries. The present thesis is not primarily a work of art-historical scholarship nor is it an in-depth textual analysis of the Jamesian canon; it is an analysis of the ways in which two individuals deal with the conditions of their artistic practice. My thesis is original in its bringing together of two important figures - a writer and a visual artist - whose theory and practice reveals the complexity of early modern art's dialectical relationship with modernity. In so doing, I offer a critical reevaluation of the work of Henry James and James McNeill Whistler in light of its engagement with the discourses of modernity and modernism.

No description available.

This thesis is a study of Wilfred Cantwell Smith's contribution to the field of religious studies, with special reference to his study of Islam. Smith's views as a historian of religion, as an Islamicist and as the pioneer of a new approach to the study of other men's faith are of great significance. / This thesis studies his work on Islam in the light of the development of his ideas with regard to the concept of religion and the approaches to studying it. The evolution of Smith's understanding of Islam is classified here into three phases. During the first phase, Smith's approach was socialistic; he was essentially concerned with the social role of religion, in this case Islam, in modern society. In the second phase of his work as an Islamicist, it was the concern to acquire a more adequate knowledge of Islam and to create a sympathetic understanding of the Muslim culture and religion. / The third phase was marked by the publication of his seminal work, The Meaning and End of Religion (1962). His work on Islam in this phase is in the nature of explorations into his own theories regarding the study of religion in general. During this phase, Smith devoted much attention to such concepts as "religion", "faith", and "cumulative tradition", as well as to a new approach in the comparative history of religion. This indicates that Smith in this phase was not only a specialist of Islam, but a historian of religion and a comparative religionist.

This thesis examines Protestant unionist commemorations of the Battle of the Somme in Northern Ireland during a phase in which they exhibited marked popularity and politicization. Filling a gap in the scholarship and building upon it, this thesis pays closer attention to the historical context and development of these commemorations and takes into account a broader swath of forms and locations of commemoration. It argues that, in the face of the perceived threat of Irish unification posed by the Anglo-Irish Agreement in 1985, unionists employed the memory of the Somme as a political tool on two different but overlapping fronts. On one front, they used it against their collective opponents, who supported or supposedly supported Irish unification. On a second front, conflicting groups within the unionist community, namely unionist politicians, Orangemen, Protestant youths, and loyalist paramilitaries, interpreted the Somme differently to satisfy their partisan agendas. Analyzing Somme commemoration at the Belfast cenotaph, in parades, and in murals, this thesis provides explanations for why the Somme was remembered differently in various mediums and locales of commemoration, with particular attention to the differing degrees and manners in which Protestant commemorators recognized the Catholic contribution in the Somme campaign. / Department of History

This thesis implements Milton Babbitt's time-point system for music composition via the creation of a computer software application for the Macintosh computer. This system asks the composer to enter musical information, which is used to calculate pitch, duration, articulation, texture, octave, and silence, for the time-point composition. The application generates a file of musical information that is compatible with a performance application; the performance application will execute the composition communicating with MIDI-compatible musical instruments.The purpose of this project was to create a compositional tool that would implement the time-point system by reducing hours of hand calculation and tedium, and would provide an accessible and efficient approach to time-point composition. It is intended that this application be used to assist both the serious composer as well as the student of music composition. / School of Music

'Women and independence in the nineteenth century novel : a study of Austen, Trollope and James', begins with the concept of independence and works through the three most common usages of the word. The first, financial independence (not needing to earn one's livelihood) appears to be a necessary prerequisite for the second and third forms of independence, although it is by no means an unequivocal good in any of the novels. The second, intellectual independence (not depending on others for one's opinion or conduct; unwilling to be under obligation to others), is a matter of asserting independence while employing terms which society recognizes. The third, of being independent, is exemplified by an inward struggle for a knowledge of self. In order to trace the development of the idea of self during the nineteenth century, I have chosen a group of novels which seem to be representative of the beginning, the middle, and the end of the period. Particular attention is given to the characterizations of Emma Woodhouse, Glencora Palliser, Isabel Archer, Milly Theale and Maggie Verver. Whereas in Jane Austen's novels the self has a definite shape which the heroine must discover, and in Anthony Trollope's novels the self (reflecting the idea of socially-determined man) must learn to accommodate social and political changes, in Henry James's novels the self determined by external manifestations (hollow man) is posed against the exercise of the free spirit or soul. Jane Austen's novels look backward, as she reacts against late eighteenth century romanticism, and forward, with the development of the heroine who exemplifies intellectual independence. Anthony Trollope's women characters are creatures of social and political adaptation; although they do not derive their reason for being from men, they must accommodate themselves to men's wishes. And Henry James looks backward, wistfully, at Austen's solid, comforting, innocent self and forward, despairingly, to the dark, unknowable self of the twentieth century.

The primary purpose of this thesis is to explore the reception of Karl Barth's theology in Korea by focusing specifically on his doctrine of the Church. This he describes as the gathering, upbuilding and sending of the Christian community. His work, Church Dogmatics, will be examined, and then an attempt will be made to identify how Barth's Christocentric ecclesiology was indigenized and is still received in Korea by examining Korean Christian thought. This will include an investigation of Sung-Bum Yun's theology of Sung. / The secondary purpose of this thesis is: (1) the description of a unique relationship between Christianity and Confucianism, because Korean Confucianism has played an important role in both the explosive growth of the Christian community and provided a basic foundation for the reception of Barth's theology in Korea; (2) the inquiry whether Barth's ecclesiology, especially his theology of mission (the sending of the Christian community), pays sufficient attention to different cultures and religions; and consequently (3) the justification that the indigenization of Barth's Christocentric theology was, and is, genuinely possible with Korean Confucianism, though Barth's theology is typically confined within the European context. / This thesis will be divided into three chapters. Chapter One is designed as a brief sketch of the historical development of early Korean Protestantism and its impact on cultural and religious changes in Korea. This will include a detailed introduction to Korean Confucianism and its community concept and structure. / In the second chapter, an analysis of Barth's ecclesiology is presented by providing a discussion of what constitutes the true church, the upbuilding of the Christian community, and the missionary task of the Christian community. / Chapter Three indicates why Barth's Christocentric ecclesiology can still make an impact on contemporary Korean ecclesiological theology and practice, by exploring a specific overview of the Korean reception of Barth's theology. On this basis, this chapter critically examines and analyzes Sung-Bum Yun's appropriation and misappropriation of Barth's theology.