American composer David Guion (1892-1981) created and expressed in much of his music a unique and unmistakably American voice. Though he is remembered today mostly for piano pieces, especially Turkey in the Straw and Arkansas Traveler, he was famous for championing cowboy songs, African-American spirituals and folk songs as the truly authentic representations of the American experience. He also wrote many original works, including a substantial number of songs in Black dialect. In 1930 Guion starred in a cowboy show at the Roxy Theatre in New York, drawing upon his western-themed music. The next year he had a weekly radio show, broadcast around the country and featuring his music exclusively, with the title Hearing America with Guion. He played a substantial role in transforming Home on the Range into the best-known of all cowboy songs. His magnum opus, the ballet Shingandi, was highly regarded but has yet to be recorded. This dissertation examines those genres among Guion’s compositions that reveal his vision for a musical Americana. Much of his music is based on songs that circulated first in oral tradition before he adapted them for the concert stage. This dissertation surveys the breadth of the oral tradition of these songs, identifies his direct sources, and examines his treatment of melody, rhythm and harmony as he infused his music with such characteristic national flavor that his audiences were, in effect, “Hearing America.” A complete list of Guion compositions is attempted, and to the extent possible, probable dates of composition are established from recital programs and publication agreements. The scripts of his radio shows are reconstructed from papers in his archives and presented here. / text

In this project, I argue that David Foster Wallace's 1996 novel Infinite jest (or IJ) is both about recovering from addiction through humility, and also it produces that humility in some of its readers by making us feel ourselves to be addicts to a certain kind of reading: a reading to find closure, certainty, and resolution. But, in frustrating the desires for closure, certainty, resolution, etc., IJ denies readers the satisfaction of completing the fix. It is precisely this denial that prompts readers to re-read, repeating the structure of addiction--but also destructuring it, by installing habits of reading that pleasure in the failure to close, the uncertainty, the impossibility of resolution--habits which I treat as humility. Following a thread in the performative theory of J.L. Austin, Jacques Derrida, and Eve Kosofsky Sedgwick, I clear space for reconceptualizing the performative utterance through an unusual example of a performative utterance: I take IJ to be the utterance of humility. Drawing on Avital Ronell's "narcoanalysis" in Crack wars, I argue that IJ's performative or substantializing work is in exploiting one kind of habit (addiction) in order to replace it with another (humility). The rhetorical transformation (to humility) effects itself through IJ's performative formation (in the reader) of the humbled habit. This project is a reading of a performative utterance (IJ) that produces a rhetorical effect, which effect is the formation of the habit of humility. / text

<p>This study identifies and elaborates on a theme in the Hebrew Bible (HB) that has largely gone unnoticed by scholars: the transition of a male adolescent from boyhood to manhood. Beyond identifying the coming-of-age theme in different HB texts, the project also describes how the theme is employed by biblical narrators and redactors to highlight broader messages and transitions in the historical narratives of the HB. It also considers how these stories provide insight into the varying representations of biblical masculinity.</p><p> The project begins by showing how the recent discussions on masculinity in the HB and biblical rites of passage are incomplete without an analysis of how a boy becomes a man in the biblical text. It then establishes important principles for recognizing the maturation theme in a given narrative. More foundational work is done in chapter 2, which describes the characteristic features of manhood and boyhood as depicted in the HB to facilitate the identification of narratives where a transition is made from boyhood to manhood. </p><p> The next two chapters identify five case studies of coming-of-age: David in 1 Sam 17; Solomon in 1 Kgs 1-2; an alternative tale of Solomon's maturation in 1 Kgs 3; Moses in Exod 2; and Samuel in 1 Sam 3. Chapter 5 discusses the converse of the coming-of-age theme by presenting stories of boys who fail to mature: Jether in Judg 8, and Samson in Judg 13-16. In each case study, the narrator's techniques for highlighting the maturation theme are identified. The ways that the narrator employs the theme to point to other significant plot points or narrative transitions are also identified. Most notably, the failure-to-mature theme in the Samson narratives typifies Israel's political immaturity in Judges, and the two alternative tales of Solomon's maturation highlight an important transition in the Deuteronomistic History from the uncertain and often bloody years of the monarchy's establishment to the peaceful, prosperous reign of Solomon. </p><p> The seven case studies are also examined for the image of masculinity that they present, and that presentation is compared to the general view of manhood in the HB. Five of the seven offer quite similar images of masculinity; and these also cohere to the general picture of biblical manhood. However, two narratives (Samuel's maturation in 1 Sam 3 and Solomon's in 1 Kgs 3) depart from this conception of masculinity, each in the same way: both depict a masculinity free of violence and the need for the constant, forceful defense of manhood and honor. Since these two texts have often been ascribed to the same author, the Deuteronomistic Historian, the study suggests that he may be offering a new view of masculinity more suited to his historical context. </p><p> The project ultimately proves that the theme of male coming-of-age, heretofore virtually unrecognized, is found in several biblical texts. Moreover, this theme is often used to indicate other important messages and transitions in Israel's historical narrative and can provide unique insight into biblical constructions of masculinity.</p> / Dissertation

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This thesis looks at two theories of universalizability: Immanuel Kant's deontological one and R. M. Hare's utilitarian one. It also looks at criticisms of both theories by David Wiggins. It concludes that his arguments against Hare are decisive because the moral theory that follows from Hare's version of the claim that moral judgements must be universalizable is incompatible with several basic requirements on moral theories. Wiggins' criticism of Kant, on the other hand, centres on a technical point that is overcome by an interpretation of Kant's tests for the universalizability of maxims that is given by Onora Nell. Finally the thesis argues that Kant's rational theory of ethics is superior to Wiggins' subjectivist claims because it both reflects our common sense conception of ethics and provides a rational basis for evaluating moral judgements.

The novel shows how a young Indo-Guyanese immigrant to the UK is racialized; aspiring to leave behind the "messiness" and confusion of the poverty-stricken immigrant lives he sees around him, he goes to Cambridge. The story is narrated by this character long after, in ways that reveal how this aspiration was assimilative and colonizing, encouraging him to abandon his friends and his roots. His life story makes it clear how different systems of racial categorization work in Guyana and in the UK to violently separate those who might be friends, lovers, and allies.

Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script.

Slavery, protected by the United States constitution, expanded as new territories opened up. Heated debate over abolition accompanied slavery’s expansion. In Kentucky’s constitutional convention of 1792, antislavery sentiments for abolition were countered by an argument for protecting slavery. This thesis analyzes the proslavery argument of lawyer George Nicholas who opposed the antislavery argument of minister David Rice. Analyzing that debate, this thesis argues that an entrenched, economic and legal, proslavery argument overcame a humane, moral, antislavery argument. Including an analysis of the consequences for African Americans, the thesis concludes how and why a growing minority of slaveholders was able to perpetuate slavery in the second constitutional convention of 1799. Consequently, Kentucky presents an important case study of how slavery took hold and expanded in a state where the majority did not own slaves.

Environmentally-concerned parents and educators today are asking, “How do we co-create learning environments that will foster environmental citizenry?” This reflects David Orr's claim: “More of the same kind of education that enabled us to industrialize the earth can only make things worse.” Using autoethnography to explore my decision to deschool my children, I'm placed in the position of a reflexive practitioner, as I serve as both the primary researcher and subject of that research. Upon arriving at the decision to forgo the compulsory education system I discovered the interconnectedness between deschooling, autoethnography, and 21st century theories of environmental education. I examine the rationales of environmental educators such as Orr, Weston and Jickling who call for new systems of environmental education. I expose underlying assumptions and beliefs that shape my decisions to deschool my daughters and create context for broader community discussion about how to educate for an environmentally engaged citizenry.

Traditionally, the central threat to the defensibility of the range of practices and attitudes constitutive of moral criticism has been seen to be posed by the Causal Thesis, the view that all actions have antecedent causes to which they are linked by causal laws of the kind that govern other events in the universe. In such a world, agents lack the sort of underived origination and agency required for the appropriateness of moral criticism. However, Peter Strawson’s “Freedom and Resentment” marks a move away from a metaphysical conception of agency and conditions of the appropriateness of moral criticism. On Strawson’s account, the problem of moral responsibility is centrally a normative problem, a problem about the moral norms that govern interpersonal relationships, and the conditions of appropriateness of the range of attitudes and sentiments occasioned by the agents’ fulfillment or non-fulfillment of these norms. In this dissertation I argue that the success of normative conceptions of conditions of appropriateness of moral criticism is contingent of the amelioration of the tension between two strategies in “Freedom and Resentment.” Naturalist interpretations hold that sentiments and practices constitutive of moral criticism are natural features of human psychological constitution, and therefore neither allow nor require justification. Rationalist interpretation, by contrast, are based on an analysis of conditions under which moral criticism can be justifiably modified or suspended. Both of these strategies, I argue, are false. The naturalistic interpretation is false not because of its inability to offer a plausible account of the conditions of justifiability of reactive attitudes, but rather because of its inability to offer a principled account of the way moral norms are grounded. The rationalistic interpretation, in turn, not only relies on an implausible psychological account of conditions of responsible agency, but puts an unacceptable emphasis on the agent’s intention. A plausible interpretation of the normative strategy requires emphasizing not only the significance of attitudes and feelings, but also the role reasons play in constituting moral norms and justifying moral criticism / Thesis (Ph.D, Philosophy) -- Queen's University, 2010-07-05 16:42:43.601