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“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.

published_or_final_version / English / Doctoral / Doctor of Philosophy

Clara Wieck Schumann sits at a particularly thorny juncture in musicological scholarship, as her career mirrors a period of nineteenth-century transformative social and musical change. The concept of public and private spaces came to be codified, and women's musical interactions, somewhat unsurprisingly, followed suit. In accordance with the now bourgeois concerns for social cultivation and primacy, concert structures were destabilized, programs moved away from an emphasis on miscellany, virtuosity was soundly rejected, and serious musical efforts came to dominate critical inquiry and commentary. The philosophy of Romantic listening hinged on the primacy of absolute, "serious" musics and, similar to the morals of the public bourgeoisie, privileged "masculine" expression. Within these strictures, a female pianist developed into the preeminent symbol for all that was ideal in the public piano recital. Clara Schumann has, for scholars of nineteenth-century music, come to embody the serious music aesthetic: whether it be through her role as interpreter, more homogeneous recital structuring, or allegiance to the goals of transcendental listening, she remains a figure who performed out of duty to her higher, artistic "calling." Nevertheless, scholars have rarely attempted to consider how, in a restrictive gender society, Clara was able to maintain such a successful and highly respected public career. My dissertation seeks to tease out the dynamics of Clara Schumann's reception, in order to elucidate ways she, as a woman, was able to perform in this preeminent public space, and, in fact, embolden (rather than degrade) the ascendancy of the masculine. With a career spanning some 60 years, Clara's 794 German concerts allow us a window into the complex negotiations that permeated her public performances and celebrated personality. For the first time in English translation, Appendix I gives a complete listing of Clara's programming in Germany and Vienna. By considering a wide range of sources--visual images, concert reviews, and programs--I hope to unearth ways that Clara, while challenging the hegemony of the male pianist, nonetheless continued to entrench the mores of the musical masculine to an even greater degree. / text

The nineteenth century was a time of musical and cultural growth in the United States. Six of the major orchestras which exist today were established during this time. From the birth of the New York Philharmonic in 1842 through the founding of the Philadelphia Orchestra in 1900, audiences that valued orchestral music provided an impetus for professional orchestral development.A comprehensive review of the events leading up to the establishment of the New York Philharmonic, Boston Symphony, Chicago Symphony, Cincinnati Symphony, and Philadelphia Orchestras provides a basis for understanding the nature of professional orchestral trombone playing in the United States before 1900. It was found that orchestras were established in a common manner though growth was often retarded by social and economic factors. The Civil War, especially, was an event which momentarily hindered the growth of American symphony orchestras.Biographical data about the orchestral trombone players of the nineteenth century is very incomplete in the standard texts for American music history. A registry of orchestral trombonists in the United States during this period identifies 65 trombone players who were active in major symphony orchestras. An examination of the lives of some of the better-known orchestral trombonists shows that most of these musicians immigrated from Germany. The largest number of these musicians seem to have immigrated during a period from about 1870 to 1900. These capable musicians were leaders in the development of orchestras whose personal performance was reported to be of high quality. Especially influential was Frederick Lesch, a trombonist in the Theodore Thomas Orchestra and the New Philharmonic, who served as a principal player, bass trombonist, and soloist. His performance of Ferdinand David's Concertino for Trombone and orchestra is a landmark in the growth of orchestral trombone playing.A review of literature which includes a listing of all pieces performed by major orchestras during the nineteenth century establishes the repertoire of the orchestral trombonist of the period. Through analysis of this repertoire, the technical requirements for orchestral trombone playing are established. Technique, pitch range, and dynamic range were areas where the greatest demands were made upon the players. The orchestral trombonists of the nineteenth century were indeed pioneers who set the stage for today's orchestral trombone players.

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This thesis explores the events and controversies surrounding the smallpox epidemic that hit Muncie, Indiana, in the summer and fall of 1893. The disease struck 150 individuals and left 22 dead, but it also raised broad questions regarding the authority of local and state public health officials to force vaccination upon citizens. Following recent historiographical trends that interpret anti-vaccinationist sentiment in Progressive-Era America as an important part of the political dialog, it argues that anti-vaccinationists in connection with the Muncie epidemic were not simply anti-modem, but had reasonable concerns as to the safety of smallpox vaccination and the government's authority to enforce it. / Department of History

D.Litt.et Phil. (Philosophy) / Please refer to full text to view abstract

This paper discusses the publications of the Tatler and the Spectator and their influences and criticisms of local theater, actors and audiences.