This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France. / Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed. / My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.

My thesis revives the term raciology to describe collectively the literature which emanated out of philological ethnology, that is, out of the studies of man inspired by the rapid advances in linguistic science in the early nineteeenth century. Raciological Thought in Victorian Culture is divided into two parts: it examines the development and dissemination of nineteenth-century raciological knowledge in the works of celebrated philologists and anthropologists; and then investigates typical features of raciological discourse in Victorian and Victorian Canadian culture. It views this regional British literature as a field for the political and educational deployment of British raciological conceptions, and comments on some of the implications of the circulation of raciological doctrine. My argument begins with discussion of the often overlooked celebrity and authority of philologists in Victorian culture, tracing the derivation from philology of raciological typologies which established the raciological associations of terms like "Britons," "Anglo-Saxons," and "Teutons" during the early and middle-Victorian periods. An important aspect of the thesis is a re-evaluation of the influence of Friedrich Max Muller, the most influential comparative philologist and mythologist in the Victorian world. I argue that his use of etymological study for archaeological data greatly contributed to the rapid dissemination of raciological thought among the educated and educating classes. The first part of the thesis concludes with discussion of issues which animated raciological discourse. The second part follows the dissemination of Victorian raciological thought to Canada, and illustrates its effects in an imperial context. It demonstrates the use of raciology in establishing Canada's legitimacy as a British nation, and documents the place of raciology in establishing the authenticity of Canadian continuity with a British culture running into deep antiquity. After discussing neglected raciological aspects of several important Victorian Canadian source works, it goes on to outline the importance of raciological mythology to the preservation of the Dominion from American annexation and Fenian incursion. My epilogue briefly documents the decline of raciological thought in Britain after the 1890s. By investigating numerous neglected Victorian sources, Raciological Thought in Victorian Culture establishes raciology as an important element in Victorian political-and, in particular, nationalist-thinking.

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This thesis is an intercultural and intertextual study of the ways in which an American literary identity has emerged out of an intense imaginative and political dialogue with Russian culture. Early portions of this study trace the historical connections which have drawn American writers into the orbit of Russian literature and culture during the period, 1860-1917. A theoretical chapter attempts to explain the intensity of this dialogue on several related levels: the figural relationship between two literatures which constantly transform each other; the psychic experience of an otherness between individuals and cultures which leads to provisional patterns of literary identity; and the transformation of a purely literary dialogue into the realm of social praxis. The second half of the thesis examines the careers of three major American writers--Henry James, Willa Carter, and Sherwood Anderson--as each reads the figures of Russian literature against a native American tradition, and in the process incorporates this "other" literature into that tradition. A concluding chapter initiates a discussion of the ways in which literary influence is also bound up with the dialogue of politics and power.

Vitalism is an underappreciated and often misunderstood idea. This thesis seeks to explore the historical origins and meanings of vitalism in 19th century France; tracing the transition from medical vitalism in the Montpellier School in the late 18th and early 19th century to a largely philosophical vitalism in the late 19th century, emblemized by Henri Bergson. / I argue that the decline of medical vitalism was brought about by the rise of scientific medicine, the experimentalism of physiologists like Claude Bernard and the growing influence of positivism in late 19th century France. I see the seminal moment of this transition from a metaphysical to a scientific world-view in the materialism-spiritualism controversy of the 1850s, which was sparked by the development of modern biology and the experimental life sciences. / Despite its general disappearance from mainstream medicine and science, vitalism continued to have echoes in a number of fields in the 20th century, and remains a concept relevant to our contemporary circumstances.

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The years from 1800 to 1880 produced a distinct and identifiable body of flute literature representative of the Napoleonic age in France and also the Romantic period as a whole. The changing role of the flutist exhibited in this vocally-based literature can be traced to effects from the development of the Boehm system and to certain nineteenth-century sociological changes in France. Compositions from this school also reflect the emerging status of the flutist as solo virtuoso.The literature of the French flute school represents a hybrid form of instrumental virtuosity and extremely expressive melodies which holds a unique place in flute literature. Nevertheless, its use appears to be decreasing steadily, probably due to differing opinion about the questionable musical value of this body of music. The present study was therefore devised to identify idiosyncratic characteristics of the literature, and to examine possible pedagogical applications in light of these characteristics.Six composers were chosen who were flutist-virtuosi from 1800-1880: Tulou, Boehm, Altes, Genin, Demersseman and Andersen. Biographical information was included to enlarge the sociological picture of the flutists' status as Romantic virtuosi, and to aid in the presentation of various descriptions of the expressive role of the new flute.One composition by each composer was selected for analysis. Where possible, actual Conservatory Exam pieces were chosen. A pool of recurrent common characteristics emerged which are clearly related to the sociological framework of nineteenth-century France. Finally, the isolated elements were examined for possible pedagogical benefits. / School of Music

This thesis sets out to examine the relations between the Society of Jesus, the Roman Catholic religious order known as the Jesuits, and the Vicars Apostolic and Bishops during the nineteenth-century. Suppressed in 1773 by the Pope, the Jesuits were restored at the beginning of the nineteenth-century and became the largest group among the Regular clergy in the United Kingdom. They possessed a reputation which provoked strong reactions both within and beyond the Roman Catholic community. The thesis concentrates on the relations during the protracted restoration of the Jesuits, which occurred during the struggle for full Roman Catholic emancipation, and on the various disputes (mainly concerned with the Bishops' jurisdiction and the exempt status of Regulars) which arose between the restoration of the Hierarchy in 1850 and 1881, in which year Rome provided a new constitution, Romanes Pontifices. which governed the relations between Bishops and the Regular clergy. Discussion is concentrated on the Jesuits' relations with Henry Manning in Westminster and Herbert Vaughan in Salford, in whose diocese the Jesuits attempted to open a college in Manchester; attention is also given to John Henry Newman, who, whilst not a diocesan Bishop, was a figure of related significance in this context. The interrelationship between the respective attitudes of these men to the Jesuits, and Jesuit views of them, forms the central focus of the thesis. It illuminates the central problem of the Jesuits' identity and activity in the nineteenth century, and reveals the continuity of nineteenth-century disputes with earlier conflicts on the English mission.