This study aims at providing a reading of the first chapter of Karl Marx&lsquo / s Capital Volume One titled

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Thesis--Göttingen. / Includes selected texts from Tripiṭaka in Pali (romanized) and German. Vita. Includes bibliographical references (p. 235-240) and index.

Siegfried Kracauer is mostly known for the work on film theory he wrote during his post-war exile to North America. This thesis proposes to examine a lesser known and far more complex portion of his oeuvre, namely the vast body of essays and monographs he produced throughout the 20s and 30s as editor of the Frankfurter Zeitung, which offer not only a cultural diary of the Weimar republic but also a critique of modernity and the many upheavals it engendered. Using both a detailed analysis of his own work as well as an examination of the various critical responses it elicited, this study aims at exposing the paradoxical complexity of Kracauer's stance towards modernity and its various mass cultural manifestations, a complexity which has unfortunately often been misjudged and reduced to a mere middling position. Indeed, because of his refusal to opt for a definite position, to either fully embrace or reject modernity, Kracauer has often been miscast as a mere seeker of compromise, a thinker who tried to make edges rounder and ease tensions. This thesis is an attempt to prove that far from trying to annihilate the tensions of the modern era, Kracauer in fact sought to cultivate them. He may have refused to opt for a definite stance---be it a "yes" or a "no"---towards modernity, yet his position is not to be reduced to a tepid "maybe", but ought to be seen, rather, as a truly Janusian simultaneous "yes" and "no" towards it. In our age of extreme relativism, where tension is to be avoided at all costs, there is some valuable insight to be gained from Kracauer's obstinate fight against comfortable compromises of any kind.

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This is the first single study of the relationship between John Ruskin and Dante Gabriel Rossetti, and the first to claim a similarity between their Aesthetic ideas. The assumption that Rossetti merely tolerated Ruskin for the sake of his patronage has discouraged the search for any significant intellectual exchange. No previous explanation has been sought for Ruskin's insistence, despite even Rossetti's opposition, that Rossetti was the intellectual leader of the Pre-Raphaelite Movement. This analysis reveals that Ruskin favoured Rossetti's art for qualities which he is not usually held to have admired in Pre-Raphaelitism, and which he began to emphasise soon after meeting Rossetti. Although Rossetti's reputed indifference to Ruskin is partly the result of the one-sided impression afforded by the imbalance of the extant correspondence it is also because all previous accounts of the relationship have been selective and have therefore perpetrated a superficial impression of conflict. A comprehensive and detailed examination of the correspondence has revealed that the particular disagreements were made possible by a fundamental sympathy. The relationship which emerged seems to have been, contrary to prevailing opinion, initiated by common aims, sustained by mutual professional respect, and dissolved by developing ideological differences. Having established the possibility of mutual influence between Ruskin and Rossetti, the thesis analyses the common theory of creativity underlying the work produced during their ten-year friendship. There follows a discussion of two aspects of Rossetti f s creative practice towards which Ruskin showed unequalled sensitivity, presumably as a result of his own artistic preoccupations: the Symbolic or Grotesque power, and the reliance upon Memory. Ruskin's collection of Rossettis;- is discussed, and an explanation offered for the apparent discrepancy between his public and private opinions of Rossetti's work. Finally it is claimed that Rossetti's affinity with Ruskin modifies his links with Aestheticism. This study hopes not only to justify the analysis of the Aesthetic ideas common to Ruskin and Rossetti, but also to consider its implications for both Pre-Raphaelitism and Aestheticism.

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Social and Political Thought. / Typescript. Includes bibliographical references (leaves 791-825). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR19808

Thesis (Ph. D.)--John Hopkins University, 1976. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 262-286).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 139-147).