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Although C. S. Lewis was not a metaphor theorist, the issue of metaphor appears often enough in his writings for one to cull from them a general theoretical view. This thesis attempts to examine Lewis's thoughts on metaphor against the background of modern metaphor theory. Forty or fifty years ago such a study would have been less fruitful, for his views on metaphor so differed from contemporary theorists that their works offered no positive atmosphere in which to approach his work. Now, however, the general tenor of certain streams in metaphor theory has become more amenable to his views. Indeed, it appears that some key issues raised in modern metaphor theory exist in a seminal form in Lewis's writings. While Lewis cannot be put into any one school, modern theory offers the necessary tools with which to approach his discussions of the figure. This thesis, therefore, begins by briefly outlining the history of metaphor theory in so far as it relates to Lewis. The second chapter discusses his metaphysics, since he believed that his views on metaphor had metaphysical implications. The third and fourth chapters present Lewis's view of metaphor' process and function, as gleaned from his writings. Finally, the thesis concludes by relating Lewis's view back to his metaphysics.

The opera bouffe Les mamelles de Tiresias (1944) by Francis Poulenc (1899-1963) stands at the crossroad between the composer's formative and mature works. The opera exhibits a number of harmonic features characteristics of Poulenc's eclectic, idiosyncratic style. This thesis attempts to address the lack of attention given this work in particular and Poulenc's output in general. / The thesis consists of two volumes. Volume I contains the introduction, three chapters and the conclusion. Volume 2 contains musical examples, analytical graphs and reproductions of Act 1, Scenes 1 and 2, and Act 2, Scenes 7 and 8 from the piano-vocal score of Les mamelles de Tiresias. / The first chapter of Volume 1 reviews two Ph.D. dissertations that examine Poulenc's harmonic language; and summarizes the more recent analyses by Vivan Wood, Pamela Poulin and Keith Daniels. Figures (the musical examples) for Chapter 1 are given in Volume 2. / Chapter 2 of Volume 1 examines the large-scale harmonic organization in pivotal scenes that are representative of the musical language in the opera. / Chapter 3 of Volume I extends Warren Werner's and Richard Bobbitt's approach to show how local events and large-scale harmonic motions can be viewed as leitmotives that symbolize key events in the drama. Figures (the musical examples) and Graphs (the analytical graphs) for Chapter 3 are given in Volume 2. / The conclusion reviews there observations of the study and makes some general remarks about Poulenc's harmonic language. (Abstract shortened by UMI.)

There is no abstract available for this thesis.

There is no abstract available for this thesis.

This study investigates the nature and extent of Paul Hindemith's use of the trumpet or cornet in the seven works which comprise the Kammermusiken. The trumpet or cornet is assessed on the basis of technical and musical criteria with regard for its functional responsibilities within the context of each work. Specific evaluative criteria include pitch range, ensemble placement, melodic motion, articulation, rhythmic character, dynamic range, and special effects. Functional responsibilities are generally identified as either thematic or supportive on the basis of an examination of the musical setting in which the trumpet or cornet is found. Thematic roles are further distinguished, where appropriate, as either primary or secondary. Supportive responsibilities are identified as either harmonic, harmonic and rhythmic, or harmonic and structural.Each of the seven works is addressed in a separate chapter. General information concerning instrumentation, expressive character, and specific comment regarding unique stylistic features is provided. A technical and musical assessment of the utilization of the trumpet or cornet is included. Performance demands and interpretative concerns are addressed, as well. A summary of the trumpet's or cornet's use in the work concludes each chapter while a comprehensive comparison of its use in all seven compositions is provided in the final chapter. Representative musical excerpts from the score are provided in separate appendixes.The trumpet serves almost equally in thematic and supportive roles and is generally called upon to perform in a predominantly marked or martial manner. While all passages are well within the normal performance capabilities of the professional or advanced collegiate player, an assured technical facility is required in order to accommodate the variety of intervallic combinations and contrasting melodic motion which typifies Hindemith's harmonic language. / School of Music

C. S. Lewis (1898 - 1963) wrote both fiction and non-fiction, both essays and books throughout his life. The purpose of this study is to examine the fiction he wrote for adults in light of his expository statements about love found in his "Equality," "The Weight of Glory," Mere Christianity, and, especially, The Four Loves to see if his fiction consistently presents the same ideas about love.The body of the paper examines Till We Have Faces, The Great Divorce, The Screwtape Letters, Out of the Silent Planet, Perelandra, and That Hideous Strength to see if his ideas about love are included in them and to see if his ideas about love changed or developed over the years of his writing.After examining Lewis's works (excluding the Narnian Chronicles), from his earliest writings in 1936 to his latest writings in 1963, this paper concludes that Lewis's ideas about love are clearly manifested in all of his fiction, that these ideas did not change or develop over the years, and that the various kinds of love and their perversions that he treats in The Four Loves are found in the themes of his novels and consistently personified in his characters.In fact, love is the core of Lewis's writings, especially his fiction. Love is the "peg" upon which he hung all of his plots and themes and characterizations. Understanding Lewis's systematic "doctrine" of love will help any reader understand his fiction. / Department of English