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This thesis uses Hirsch's dual notion of intention, i. e. conscious, intentional meaning and symptomatic, unconscious meaning, in order to avoid a dead end in the critical assessment of Warhol's work. T.S. Eliot's term "objective correlative" refers to a phenomenon whereby "an inner emotional reality" is evoked by its "external equivalent". (Benet, 1965). Thus, given that no work of art is purely self-referential (as distinct from its being autonomous),Hirsch's notion allows that viewerreconstruction of a painting involves shared values and concerns; that a painting reconstructed by a viewer acquires the status of an icon through which the viewer participates in the artist's sacred cosmos. Sociology of art tends on the whole to extrapolate from actual works to the alleged conditions that gave rise to them. That it cannot predict what specific works will arise from given conditions makes it unscientific. However, its usefulness lies in its ability to reveal what values and concerns are shared by artist and viewer. This is vital for an interpretation of Warhol's work. Warhol's biography leads directly into the meaning of his work. The sickly child of an immigrant steelworker, he grew up in Pittsburgh - an epitome of the technocratic-industrial environment - and was exposed from an early age to a violent and ugly world where the disparity between the super-wealthy and the struggling workers was deeply disturbing. That Warhol himself became a multi-millionaire artistic tycoon is significant, for it means that his works, his icons, were participatory in the very cultural myths and neuroses they appear to display or even despise. That his work has meaning and is open to interpretation there is no doubt. For example, a man-made soup can, as a manifestation and containment of the sacred, is coercive. Here the sacred becomes familiar, affordable and disposable. An electric chair, a man-made instrument of death, gives man supremacy over mortality and the divine prerogative of purging the world of all evil. The essay, however, does not attempt to answer the broader questions raised by Fromm and Roszak about the spiritual emptiness of the twentieth century and the existential crises experienced by those who hunger for meaning and fasten greedily onto anything that seems to proffer a glimpse of something beyond. The essay, nevertheless, strives within this context to elucidate the valid in Warhol's work

From Introduction: Giorgio Vasari's first and second editions of his 'Lives of the Artists I appeared respectively in 1550 and 1568, just after the great period of Renaissance art in Florence and Rome had ended. As a practising Florentine architect, painter and sculptor who travelled extensively in Italy, sari could write with authority on the development of these arts throughout what he saw ~s the whole Renaissance period in that country, from the l ate 13th to the mid-16th century. Gathering information from all possible sources, his 'Lives' constitute the first comprehensive historical - critical survey of Italian Renaissance art. Much of their value resides in the first hand information they contain concerning the artists (Michelangelo in particular) who were his contemporaries, and in reflecting the aesthetic attitudes prevalent in a peak period in the history of art.

My thesis gives a Central-Eastern European reading of the development of Dunn's poetic representations of Scotland, with special emphasis on the uses of landscape and nature poetry, including versions of the pastoral. Pragmatically, my reading of Dunn's work moves in the dual paradigm of nationality and internationalism, as I aim to illustrate in what ways these parallel affinities may enrich our readings by supplementing or on occasion complicating each other. This binary context is also essential to my procedure, in that national identity forms a part of my subject matter and my point of view as a Hungarian reader involves an international perspective. My hypothesis is that Dunn's poetry, inasmuch as it speaks for the autonomy of imagination, is paradigmatic for the (re)formulation of an authentic but internationally minded Scottish literature. As understanding the motives behind its images abroad may inform a nation that wants to reshape its cultural position, I seek to offer feedback by reading Dunn's representations of Scotland from a Continental angle, as distinguished from habitual British or Scottish readings. I address myself to the problems of literary provincialism, regionalism and inner emigration as potential sources of lyrical self-emancipation. I also investigate Dunn's transgression of secular apprehensions of landscape and chronology, which enables both the identity construction of the place in the present tense and the constant deferral of this identity to an indefinite future. I assume that in the course of this deferral nationality evolves into the subject of an open-ended semantic negotiation. In general terms, I aim to challenge conventional beliefs about the relationship between the public and private responsibilities of poetry by considering the ways in which history, place and nationality converge in the voice of an essentially lyrical poet.

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I intend In this thesis to examine some central features of George Herbert's art - aspects of his imagery syntax and metrics. These topics have been chosen because they encompass large areas of his poetic practice, ramifying as they do into questions of theme, tone and structure. Even a partial. survey of Herbert' s imagery, such as the one I attempt to offer, should enable the reader to judge the range of experience that Herbert brings to bear upon a comparatively circumscribed number of themes, (The "Affliction " poems, for example, are wonderfully diverse, although they have a common thematic centre). A brief examination of the traditions within which Herbert's manipulation of imagery falls should allow one also to judge his resourcefulness, especially in the composites of emblem and symbol he devises on occasion; which in the concluding analyses I attempt to show the structural significance of image patterns in representative poems from The Temple. Thus Chapter I falls into three sections: a brief discussion of emblematic and symbolic traditions together with Herbert 's place in relation to them, a deliberately selective glance over some images (a full examination is far beyond the scope of this thesis), and finally some close analyses of poems in the course of which I try to show the imagery operating as a structural and coordinating device. In Chapter II, I move on to the closely related area of syntax, examining Herbert's formulation of his material, and finding - amongst other things - that there is evidence of "grammatical" imagery where the disposition of a sentence provides a concrete embodiment of the theme. This interrelationship of imagery and syntax (and of imagery and metrics) is a corollory of poetry's organic nature, and in order to stress the mutual collaboration of these features, I have subjected a single poem, "The Flower" to an analysis from three different angles, assuming that each approach will further illuminate the others. All the lyrics would yield riches if treated in this way but my limits of space have naturally precluded so elaborate an undertaking. Even In the analyses of poems that are treated only once, I have been at pains to allow in a glimmering of topics other than that in hand, so as to enlarge the scope of my examination. Although the material in Chapter II is designed to highlight the structural, tonal and thematic effects of syntax in turn, such divisions remain theoretical rather than actual, for they combine almost indivorcibly into a complex whole. Chapter III is patterned like Chapter I in that it moves from a general survey of Herbert's metrics, his rhyme and his stanzaic design, to further close analyses of his metrical procedures in particular lyrics. Both here and in the preceding chapters I have undertaken to look at Herbert's work in close detail, because, as I have already suggested, his is an art of compression, of telescoping a whole range of meanings into the neatest and most compact shape. Given the differences in mode and intention, his poetry often puts one in mind of Jane Austen's fiction - at least in the profundity it achieves within a consciously limited scale and a critical magnifying glass seems to me to be the most apposite aid for such a study as I have undertaken.

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This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.

This commentary attempts to combine the functions of a traditional textual and linguistic study with those of literary criticism. It deals with the many passages in the last two books of the Aithiopica where the text is in doubt or its meaning obscure, and discusses a variety of stylistic points, presenting parallels for many of Heliodoros' peculiar usages. It adduces comparative material to relate Heliodoros' geographical, anthropological and historical setting both to reality and to the beliefs and practices of the ancient world. It also offers the reader of Heliodoros a running commentary on larger issues of narrative technique, characterisation, structure and overall interpretation, shoving how Bks.9 & 10 form the climax of the novel; these elements together form a judgement on Heliodoros' stature as a writer and his success as a novelist. The Introduction offers a connected treatment of four important themes: Section 1 discusses the dating of the Aithiopica and argues that it must have been written after Shapur's siege of Nisibis in AD 350, but that Heliodoros was not drawing on Julian's account of the siege; the possibility of a shared source is suggested; Section 2 discusses the religious background of the novel and rejects the religious interpretation, arguing that the many references to the supernatural do not shew a consistent view of divine intervention in human affairs and derive from a purely literary desire for unity and forward movement; Section 3 analyses Heliodoros' attempt to achieve realism and classifies the devices he uses; Section 4 discusses the author's prose style and isolates some characteristic features.

xi, 106 p. / Raoul Dufy created woodcut illustrations for a book of poetry by Guillaume Apollinaire entitled, Le Bestiaire, au, Le Cortege d'Orphee, in 1910. Shortly thereafter, radical haute couture leader, Paul Poiret, commissioned Dufy to carve woodcuts to be printed onto fabric and used in Poiret's fashion designs. The goal of this thesis is twofold; to show how the nineteenth-century woodcut revival provided Dufy with a medium that simultaneously suggests popular French tradition and contemporary avant-garde culture and to reveal how Dufy's early employment of the woodcut led to a lifetime involvement with the decorative arts that both contributed to his success and style as a painter. These involvements mark a highpoint in the way the woodcut, which had fallen into artistic disfavor during most of the nineteenth-century, was returned by Dufy to the center of avant-garde culture and fashion. / Adviser: Sherwin Simmons