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Thèse de doctorat : Anglais : Rennes 2 : 2008. / Bibliogr. f. 421-455. Index des noms.

Graduate

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Au cœur du mouvement progressiste aux États-Unis et alors que le réformisme consolide sa place en politique nationale grâce à l'élection de Woodrow Wilson en 1912, émerge à côté du nouveau président élu la figure de Charles Richard Crane (1858-1939), auparavant quasi-inconnu sur la scène nationale. Industriel richissime, réformateur, mécène et philanthrope de Chicago, Crane avait fait sa marque dans les cercles progressistes du Midwest en plus d'avoir soigneusement cultivé des relations importantes à l'étranger. En même temps, ses intérêts et ses accointances variés le rendirent utiles aux yeux de Wilson qui l'intégra dans un cercle très sélect de conseillers intimes. Rapidement devenu ami avec le président, Crane fut tour à tour choisi pour de multiples tâches politico-diplomatiques de relative importance : contributeur majeur des élections de Wilson en 1912 et 1916, promoteur et facilitateur des réformes sociales et politiques du programme de la New Freedom, mission diplomatique en Russie révolutionnaire, soutien à la création de la Tchécoslovaquie, commission d'experts au Moyen-Orient dans le cadre de la Paix de Versailles et ambassade américaine en Chine comptent parmi ses principales tâches au sein du wilsonisme. À travers ces années avec Wilson, les plus déterminantes de sa vie à ses propres yeux, s'écrivit une carrière publique remarquable qui illustre des aspects du wilsonisme à la fois caractéristiques et inédits. Son engagement dans un réformisme assez radical, qui se manifesta autant dans la sphère nationale, avec des politiques agraires et anti-monopolistiques, qu'à l'étranger, avec l'appui à des causes révolutionnaires, anti-impérialistes et humanitaires, et la constance de son discours wilsonien et de son appui à Wilson apportent un éclairage différent à la perspective historienne du progressisme wilsonien et de l'époque qui l'a produit et façonné. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Charles Richard Crane, Woodrow Wilson, relations internationales, Première Guerre mondiale, histoire de États-Unis, ère progressiste

This thesis examined all references to George Bush in Time, U.S. News and World Report and Newsweek in the time periods before and after the 1988 Republican National Convention in order to determine if there was a difference in how these newsmagazines portrayed Bush in these time periods. The hypothesis of this study: George Bush was portrayed more positively in the total coverage of these newsmagazines after the convention than he was portrayed prior to the convention.In order to determine this, a coder chose news stories from before and after the convention from the newsmagazines if they dealt primarily with the man George Bush or the campaign in general.All references to Bush were highlighted in the articles along with all statements made by Bush. Then, sources of these sentences with these references were determined and placed into one of three categories: newsmagazine, Bush or "Other." Coders were asked to evaluate the references to Bush as to whether the references placed Bush in a positive light, negative light or did not reflect him positively or negatively, neutral.The findings of this study show there was no apparent difference in the coverage of Bush between the time periods. The hypothesis was not supported. Additionally, the overall coverage of Bush was neutral and the newsmagazines were the source of the largest amount of references. / Department of Journalism

The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents.

We first demonstrate the importance of the doctrines of the quantity theory and the long-period stationary state in the formulation of Marshall's, Wicksell's, and Keynes' pre-General Theory monetary theories. We analyze the anomalous events characterized by these writers as short-period phenomena. From the perspective built up around the quantity equation and its long-period context, business cycles represent economic convolutions in which the behavioral mechanisms of the long-period break down. We demonstrate the theoretical breakdown; importantly, it is not reflected in the work of these writers that they understood that their explanations of short-period events undermined the long-period theorizing they carefully built. Second, it is argued that Keynes saw the General Theory as a theory of the short-period in contrast to the long-period monetary frameworks. We use the General Theory's criticisms of classical monetary theory to establish this point.

This doctoral thesis contributes to the ongoing scholarly conversation on literary representation of musical sounds, forms, and compositions. My close examination of the tangible presences of Western art music in the fiction of three contemporary American novelists relocates traditional foci of intermediality and word and music studies from referential precision and structural equivalence across the arts to the problem of readerly experience of music through fictional narrative. Exploring a variety of diegetic encounters with music in William T. Vollmann's Europe Central (2005), William H. Gass's Middle C (2013), and Richard Powers's Orfeo (2014), I draw from cognitive narratology and the philosophy of music, among others, to construct a concise model of musical experience and a system of its literary correlatives, which can provide for the reader's enactive response to music-related themes and means in fiction. I discuss the different strategies the writers apply to communicate the presumably elitist experience of Western classical music as suggestive and relevant to their 21st-century readerships, whether big or small. I order my chapters dialectically, regarding the three authors' literary approaches to musical experience as thesis, antithesis, and synthesis. In Chapter I, Vollmann's intermedial transpositions of Dmitri Shostakovich's fictionalized works are shown to be framed by a mimetic bias, under which diegetic music functions as a characterization means for the author's historical preoccupations. The thesis (i) I infer from Vollmann's approach is that music is part of the fictional reality representative/informative/definitive of what that reality is like. Chapter II is devoted to Gass's metafictional distrust of representation, whereupon his novelistic narrative discards diegetic music almost completely and points out ways of experiencing verbal textures musically. Gass's method is thus antithetical (ii) to Vollmann's: music is a metaphor for creativity, indifferent to the subject matter and/or plot, which at representation level may well be a parodic perversion of the very idea of creativity. Powers's balanced treatment of musicalized content and form and his generous supply of multivalent experiential cues are forged to appeal to a broader reading audience, as I argue in Chapter III. In what I see as a synthesis (iii) of Vollmann and Gass, Powers's storyworld contains abundant diegetic music that constructs narrative settings and drives the events of the plot, but is itself graspable through musical metaphors. The findings of the thesis open new directions for research into musico-literary reception. Encouraging a revival of reader-response awareness in literary analysis, musicalized fiction is an untrivial subject for interactive theoretical scrutiny by psychologists and philosophers of music, transmedial narratologists, and cognitive scientists. Empirical studies of actual readers' experience of musicalized prose may prove particularly promising in further investigation of this intersectional phenomenon.