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English Studies began in Canada in 1884 at Dalhousie University; Canadian literature was first taught at the post-secondary level in 1907 at the Ontario Agricultural College in Guelph. Arnoldian humanism dominated the outlook of early professors of English in Canada. Their feeling that Canadian literature was not among "the best" explains why so few courses appeared in Canadian universities, despite nationalist pressure from students. About 5-10% of courses then were devoted to Canadian literature in the English curriculum and this (except in Quebec) remains the case today.

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This thesis considers the teaching of English literature within extramural organisations for adults in England between 1885 and 1910. This challenges the assumption that the beginnings of English as a tertiary-level academic subject can be traced back only as far as the foundation of the Oxford English School at the end of the nineteenth century; in fact extramural English courses had been flourishing for decades before this, and these reached their zenith in the final years before it was introduced at Oxbridge. Oxford created an Honours School of English in 1894, and the Cambridge English Tripos was established in 1917; in ideological terms, such developments were of course crucial, yet it has too often been the case that the extramural literary teaching being conducted contemporaneously has been sidelined in studies of the period. My first chapter will consider the development of English in various institutional and non-institutional environments before 1885, including Edinburgh University, Dissenting Academies, and Mechanics’ Institutes. Thereafter I will explore the campaign, led by University Extension lecturer John Churton Collins, to incorporate English literature as an honours degree at Oxford. Focusing on the period between 1885 and 1891, this second chapter will assess the veracity of some of Collins’s most vehement claims regarding the apparently low critical and pedagogical standards in existence at the time, which he felt could only be improved if Oxford would agree to institutionalise the subject, and thereby raise the standard of teaching more generally. Collins’s campaign enjoyed more success when he drew attention to the scholarly teaching available within the University Extension Movement; my third chapter is underpinned by research and analysis of previously unexplored material at the archives of London University, such as syllabuses, examination papers, and lecturers’ reports. I examine the way in which English literature, the most popular subject among Extension students, was actually being taught outside the universities while still excluded from Oxbridge. Thereafter my penultimate chapter focuses on an extramural reading group formed by Cambridge Extension lecturer Richard G. Moulton. This section considers Moulton’s formulation of an innovative mode of literary interpretation, tailored specifically to suit the abilities of extramural students, and which also lent itself particularly to the study of novels. Uncollected T. P.’s Weekly articles written by Arnold Bennett highlight the emphasis that he placed on pleasure, rather than scholarship. My final chapter considers Bennett’s self-imposed demarcation from the more serious extramural pedagogues of literature, such as Collins and Moulton, and his extraordinary impact on Edwardian reading habits. A brief coda will compare the findings of the 1921 “Newbolt Report” with my own assessment of fin-de-siècle extramural education.

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This phenomenology begins with an observation of a musical instrument, the piano. The piano is surrounded by an aura of lifelessness, for its sound world is dominated by tone-decay and a calcified intonation system. Therefore, a physically seamless legato rendering of melody is impossible for pianists, and the inflexible symmetry of given intervallic relations enforces a loss of tonal centre when a composer ventures into the intrinsically asymmetrical domain of chromaticism. However, the melodic interval - the element lying between the acoustically sounding pitches - is in essence always inaudible, whatever the instrument. Through the development of listening capacities directed specifically toward unveiling the non-positive musical element in its origin, namely, within human consciousness, it is possible to overcome external instrumental limitations. Human being’s intrinsic musicality is revealed through phenomenological observation of consciousness in its qualitatively differentiated, ordinarily related, temporally unfolding nature. External limitations can have no hold over living melodic expression when the essence of the melodic interval is discovered self-sufficiently within the non-positive dimension of human onticity, that is, within a consciousness in which the potential for clear spiritual cognition lies dormant. ‘Tonicness’ is discovered ultimately to be an inner awareness of self-voicefulness, independent from instrumental and linguistic contingencies; and the piano reveals an historical mission to awaken - from ‘death’ - new cognitive listening faculties. This research employs the spiritual-scientific method of Rudolf Steiner’s anthroposophy, or wisdom of the human being, which involves meditation and the cultivation of sense-independent logic as well as of lucid feeling (as distinct from blinding emotion).

Thesis (M.A.)--University of Nevada, Reno, 2008. / "August, 2008." Includes bibliographical references (leaves 97-103). Online version available on the World Wide Web.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 226-233).

Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Includes tables. Typescript; issued also on microfilm. Sponsor: Carmine Paul Gibaldi. Dissertation Committee: L. Lee Knefelkamp. Includes bibliographical references (leaves 164-168).

Thesis (Ed. D.)--Teachers College, Columbia University, 1968. / Typescript; issued also on microfilm. Sponsor: Frederick D. Mayer. Dissertation Committee: Charles Walton, Lawrence Taylor, . Appendix A: Musical Scores of the A Cappella Choral Music for mixed voices of Arnold Schoenberg. Includes bibliographical references.