This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections. During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook. In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry. Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall Gardens / Arts, Faculty of / Music, School of / Accompanied by cassette in Special Collections / Graduate

'"Transcolonial Circuits': Historical Fiction and National Identities in Ireland, Scotland, and Canada" explores the intersections between gender, canon-formation, and literary genre in order to argue that English- and French-Canadian historical fiction was influenced, both in form and content, by the precedent-setting fictions o f Scotland and Ireland in the early nineteenth century. Conceived in the spirit o f Katie Trumpener's Bardic Nationalism: The Romantic Novel and the British Empire (1997), this dissertation extends Trumpener's examination of nineteenth-century British and Canadian romantic fiction by exploring in greater detail the flow of ideas and literary techniques between Ireland, Scotland, and English and French Canada. It does so in order to revise critical understandings of the formal and thematic origins and development of Canadian historical fiction from the nineteenth century to the present. Chapter One functions as a series of literary snapshots that examine historically the critical and popular reception of novels by Maria Edgeworth and Sydney Owenson in Ireland, Sir Walter Scott in Scotland, John Richardson, William Kirby, and Jean Mcllwraith in English Canada, and Philippe Aubert de Gaspe and Napoleon Bourassa in French Canada. I pay particular attention to the issues o f gender and political ideology as inseparable from the history of the novel itself. In Chapter Two, by focussing on the travel trope, I examine in detail how Irish, Scottish, and Canadian writers transformed the investigative journeys of Samuel Johnson and Arthur Young into journeys of resistance to the dictates of the metropolis. Chapter Three focuses on the complications of marriage as a metaphor o f intercultural union. It pays particular attention to the intersections between gender, sexuality, and colonial identity. The Conclusion extends the concerns raised in the thesis about the relationship between historical writing and national identity to the late-twentieth-century Canadian context, by examining the adaptation of literary and historiographical conventions to the medium of television in the CBC/SRC television series Canada: A People's History, which aired in 2001-02. / Arts, Faculty of / English, Department of / Graduate

Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet. Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work. Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High." Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works. Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.

In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenneth Pai's production of the Young Lover's Edition of the Peony Pavilion to the U.S. An ethnohistoric approach is adopted to reconstruct the contexts of the translators' decision-making with the purpose of highlighting the human factor in the process. Translations, first-hand paratextual materials and data collected in interviews facilitate the triangulation of analysis and verification. The result offers a critical understanding of translation in a cultural dissemination process by analyzing xiqu with an emphasis on the human factor.

Bibliography: p. 362-393. / In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".

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The use of herbs, spices, and other ingredients in the culinary recipes of late-medieval and Tudor England reflects the influence of ancient and medieval medical philosophy on the practices of the upper-class cook. Much of the literature treating the subject of diet in fifteenth- and sixteenth-century England has concentrated upon the role that Church doctrine and seasonality played in determining food habits. Historians tend to ignore the very real influence that humoral doctrine and Galen’s theories of digestion had in determining what people ate. This work makes use of medical treatises, health manuals, culinary manuscripts, and printed cookbooks from the period to prove that cooks for the upper levels of English society were concerned about the effects that different foods had on health and that they prepared their meals with this information in mind. / Master of Arts

The Scandinavian invasion and settlement in England altered English history. However, while the basic political narrative is known from primary sources, the social and cultural history that evolved has not been fully examined. This is especially true in the areas of the Danelaw that the Scandinavian invaders settled where there is a paucity of primary sources for this period. The study was limited to the years 800 A.D. to 1000 A.D. or a shorter time span within that frame depending on the subject matter under examination. This thesis examined place-names and coins in East Anglia and Yorkshire to determine the Scandinavian influence on their development. By understanding the Scandinavian influence on place-names and coins, one may determine the settlement pattern that occurred in each area. It appears that the moderate Scandinavian influence on place-names as well as the deliberate assimilation of coinage to English standards indicates a small scale settlement that consisted primarily of higher ranking Danes. Yorkshire on the other hand demonstrates much stronger Scandinavian influence in place-name development as well as coinage thus indicating a larger settlement that consisted on lower ranking Danes. By determining settlement patterns, future research can focus on elucidating cultural changes that occurred subsequent to the initial settlement.

This study of Southey as a narrative poet will be based on an analysis of the five long poems, sometimes called epics, on which the poet laid his claim to fame in the field of narration.

Science fiction, like any other genre, is sub-divided into categories. Yet scholars in the field have long debated the existence of multiple, regional sf genres. The most critiqued of these classifications is between sf produced in Britain, and America. Though Britain remains the birthplace of sf, American author have undoubtedly left a mark on the genre. Scholars mark this difference in the writing styles and themes of authors in these regions. To examine this difference, I analyze two authors that have worked on a common theme: religion and in particular, the concept of hell. Evaluating the arguments put forth by critics such as Peter Kuczka, Cy Chavin, Franz Rottensteiner, and others; I examine works by Scottish author Iain m. Banks, and American author Cordwainer Smith to determine the validity of this classification. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection