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Diss. : Literaturwissenschaft : Biefeld Universität : 1995. / Bibliogr. p. 159-174. Index.

Diss. : Philosophie : Zürich : 1989.

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Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).

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In the field of musicology, most commentators agree that the late style of Gabriel Faure is highly contrapuntal. At the same time, no systematic or generally accepted methodology exists for the discussion of the way in which Faure combines individual lines, except for Robert Orledge's brief enumeration of Faure's preferred procedures with respect to such things as time and interval of entry. In this thesis, I develop a method for examining counterpoint in selected songs from the late-style song cycle, La Chanson d'Eve. This is based on historical information concerning Faure's education, his pedagogical habits, and his comments concerning the composition of Penelope which was written during the same time period as the songs. This methodology is then applied to an examination of the interaction between the voice and piano, something Orledge has referred to as the "Themeless Contrapuntal Duet." Since Faure himself claimed that he combined motives according to the poetic context, I have also tried to show instances in which their content may be influenced by the text. Finally, I show how these cells of simultaneously sounding motives may be used to create a larger sense of form.