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Arthur William Foote (1853-1937) was a member of the "Second New England" school of composers, and is known primarily for his work as a composer. This study shows that Foote was also very active in chamber music and that his influence in the musical community was by no means limited to his work as a composer.Several scrapbooks exist containing programs, letters, telegrams, newspaper articles, reviews, and photographs which Foote collected over a twenty-six-year period. These scrapbooks are arranged, for the most part, in chronological order and chronicle Foote's life and musical activity as no other source does.Foote was a very active chamber musician. He established and maintained a series of chamber music concerts where none had existed before; he sought out the best musicians of the time to write for, perform with, and learn from; and he traveled to many regions of the United States, and to parts of Europe, listening, learning, teaching, and performing.All of Foote's chamber music works, except for the works for cello, remain out-of-print or unpublished. Ten chamber works which include piano and that have been assigned opus numbers are examined historically and analytically in this study;TRIO IN C MOLL, fir Pianoforte, Violine and Violoncell, Op. 5DREI CHARAKTERSTUCKE, fair Clavier and Violin, Op. 9 SONATE IN G MOLL, fir Klavier and Violine, Op. 20QUARTETT IN C DUR, fir Klavier, Violine, Bratsche and Violoncell, Op. 23 TROIS PIECES, pour hautbois et piano, Op. 31 / School of Music

Zugl.: Berlin, Freie Universiẗat, Diss., 2006.

Le présent mémoire se veut une analyse des notions de corps et d'intelligence et de leur rapport, dans Le monde comme volonté et comme représentation. Mon argumentation vise à mettre en lumière comment l'assimilation de la volonté à la chose en soi et de la représentation au phénomène conduit Schopenhauer à radicaliser l'opposition entre le corps comme manifestation de la volonté d'une part, et l'intelligence comme capacité à construire le monde comme représentation, d'autre part. La connaissance de l'Être étant le principal objectif de sa philosophie, Schopenhauer explique comment y accéder soit par la voie du sentir pur, soit par la voie au penser pur. Si ces deux voies d'accès à la chose en soi sont diamétralement opposées, elles aboutissent néanmoins, toutes deux, à un dualisme entre le corps et l'intelligence, y compris dans l'art.

In the early 20th century, authors increasingly experimented with literary techniques striving towards two common aims: to illumine the inner life of their protagonists and to diverge from conventional forms of literary representations of reality. This shared endeavour was sparked by changes in society: industrialisation, developments in psychology, and the gradual decay of empires, such as the Victorian (1837–1901) and the Austro-Hungarian (1867–1918). Those developments yielded a sense of uncertainty and disorientation, which led to a so-called “turn [inwards]” in the arts (Micale 2). In this context, this essay examines Virginia Woolf’s (1882–1941) development of her literary technique by comparing To the Lighthouse (1927), written in free indirect discourse, with Arthur Schnitzler’s (1862–1932) Fräulein Else (1924), written in interior monologue. Instead of applying Freud’s theories of consciousness, I will demonstrate how empiricist psychology informed and partly helped shape the two narrative techniques by referring to Ernst Mach’s (1838–1916) idea of the unstable self, and William James’ (1842–1910) concept of the stream of consciousness. Furthermore, I will show that there is a continuous progression of literary ideas from Schnitzler’s Viennese fin-de-siècle connected to impressionism, towards Woolf’s Bloomsbury aesthetics connected to Paul Cézanne’s post-impressionist logic of sensations. In addition to that, I address how the women’s movement, starting in the end of the 19th century, inspired Woolf and Schnitzler to utilise their techniques as a means of revealing women’s restricted position in society. Methodologically, I will analyse the two novels’ narrative techniques applying close reading and by that point out their differences and similarities in connection to the above-mentioned theories as well as the two author’s literary approaches. I argue that this comparison demonstrates that modernist literary techniques of representing interiority evolved from interior monologue towards free indirect discourse. This progression also implicates that modernism can be seen as a continuum reaching back to the fin-de-siècle and culminating in the 1920s.

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In this dissertation, research is aimed at the multifaceted concepts of tolerance and abjection, which are becoming increasingly relevant worldwide. The way in which these terms are integrated into literary works is analysed with reference to two novels, namely Santa Gamka (2009) by Eben Venter and Een schitterend gebrek (2003) by Arthur Japin. Both novels include tolerance and abjection as a significant part of their narratives, yet they originate from two different parts of the world, are set in two different periods of time and also differ at historical, social-political and individual levels. In this study, the most signification similarity between the novels is how tolerance and abjection take effect, both independently and together In both novels, tolerance and abjection are, for various reasons, problematised. These reasons include: skin colour, beauty, space and borders. When compared to reality, the manifestation of tolerance and abjection in the novels is also illuminating, because it reflects the actual situations in their respective countries, namely South Africa and The Netherlands. The history and views of tolerance in these two countries can be seen as opposite: South African intolerance is characterised by apartheid, while the praised tolerance of The Netherlands is known worldwide. The analysis of the novels focuses on the influence of tolerance and abjection on the main characters, with the emphasis on the body – not only in terms of physical appearance, but also sexual practises. The study demonstrates that specific spaces, as well as spatial displacement, can be linked directly to tolerance and abjection. In accordance with their spatial migration, the novels show that borders, boundaries and overstepping boundaries are of the utmost importance to the protagonists. Borders that are experienced as limiting and result in rejection and intolerance are often simultaneously a passage to acceptance and tolerance. / MA (Afrikaans en Nederlands), North-West University, Vaal Triangle Campus, 2014

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The purpose of this thesis is to survey Sir Arthur Wing Pinero's treatment and development of the leading women in four of his most highly regarded "social" plays. Their texts will be analyzed carefully in order to arrive at answers to the following questions: What problems do these women confront and how do they attempt to solve them? What are the factors which determine their success or failure? Are their failures due to inherent flaws in character or outside influences? To what extent do these women control their destiny? What common traits do these women possess and in what respects do they differ? What is Pinero's idea of women's role in society, and what is his idea of women in general? What can one learn of Pinero's art from a study of these women?

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.