Thesis (M.S.)--University of Delaware, 2006. / Principal faculty advisor: James E. Swasey, Dept. of Plant & Soil Sciences. Includes bibliographical references.

In Chapter 1, I posit a hypothesis about the way sensory input, memory, and imagination mingle in the mind, with the result that what we seem to experience is not actually all present in the outside world, but instead a blending of the three. External stimuli invoke, or call to mind, memories of old experiences as well as old imaginings ¡K which bring about newly blended images. Since these blended images are not based entirely on actual experiences but instead on imagined scenes that are often inspired by creative art, they are frequently inaccurate. Nevertheless, the mind does not always make a distinction between what is true and what is merely assumed, leading to synecdochic fallacies and misconfirmed assumptions. I also describe how the initial impression of the Romanies was specifically an intentional image-forging attempt, which would have given settled Europe a favorable impression if some of the Romanies had not been caught breaking the law; as it was, both the favorable and unpleasant sides became lasting elements of the image, developed during the two pioneering decades following the initial meetings in 1417. In the next two chapters, I examine how the processes I describe played out in Western culture, developed in the media of literature, which branched sharply off from reality and took on a stereotypical life all its own. The last chapter demonstrates how this divergence of reality and imagination is today as strong as ever, and also how the two are blended in the perceptions of today's Western mind. The end of the chapter takes all the preceding material into consideration, and proposes some ideas how the Western experience of interacting with the real Romany and the imaginary Gypsy¡Xand my examination of this interaction¡Xcan help us to learn from history, and historical errors¡Xto use the natural processes described to good purpose: to remove the unhealthy and harmful negative (i. e. false) Gypsy image from the Romanies. This sort of action is like removing the stigma of shame from someone who has reformed. Then the public imagination must be engaged, so that the stereotype-gap (one sort of information gap) is filled in with the image of the Romani as a real human group. If this ¡§paradigm shift,¡¨ if it is not too incorrect to term it so, is achieved skillfully, the Roma may soon have a better chance of being related to more fairly, and the Gypsy image, which many have implied is somehow ¡§needed¡¨ by the Western mind as the ¡§epitome of freedom,¡¨ will be seen as a false, though charming, image, and further, confidence tricksters might even be referred to as the criminals they really are, whether or not they are Roma¡Xwithout using the derogatory term ¡§gypsy criminal.¡¨

This dissertation argues that the novels of Henry James offer a conception of personhood and of human freedom better able to explain and unify private law than the conceptions currently dominant in private law theory. I begin by laying out the two conceptual frameworks that now dominate private law theory: Kantian right and the feminist ethic of care. I argue that Kantian right‟s exclusive focus on respect for freedom of choice makes it unable to explain private law doctrines founded upon concern for human well-being, including unjust enrichment, unconscionability, and liability for negligence. However, feminism‟s ethic of care, which can be understood as a response to the Kantian abstraction from considerations of well-being and need, is also incomplete, because its understanding of the person as essentially connected to others fails to respect human separateness. I then offer readings of James‟ novels—The Portrait of a Lady, What Maisie Knew, and The Ambassadors—that show how vindicating individual worth requires both respect for abstract agency‟s separateness and freedom to choose, on the one hand, and concern for the dependent individual‟s well-being and autonomous flourishing, on the other. I argue that these two ideas are complementary parts of a complete understanding of human dignity and freedom. Finally, I argue that this understanding illuminates doctrines of private law that remain mysterious on the Kantian account while avoiding feminism‟s tendency to immerse private law in public law.

Edith Wharton’s male characters offer an important commentary on the evolving situation of the man in American society. Wharton did not wish for women to usurp all social positions from men but rather to claim their rightful position alongside them. Characters such as Lawrence Selden in The House of Mirth and Ralph Marvell in The Custom of the Country display the same characteristics of fear, passion, and vulnerability as do many of her primary female figures. Wharton’s societal concerns do not merely extend to that of her own sex but to that of the male in society who struggled with his sexuality, his body, and his role in marriage. This examination of masculinity within Wharton’s The House of Mirth, The Custom of the Country, and “The Other Two” will connect Wharton to the evolving man and his identity crisis, as her male characters have been analyzed by critics far less than her female characters. Specific aspects of masculinity often overlooked in her works, such as homosexuality and effeminacy, will come to the forefront and place her work in the context of the rigid expectations for “real American men” at the turn of the century.

Henry Cowell (1897-1965), American composer in 20th century, is the first who proposed the concept of tone clusters and placed many new techniques in his piano music. Innovative music theories and unique thoughts were displayed in his compositions and critiques. For developing both new visual and audio effects of piano music, Cowell played tone clusters with arms, palms, and fists, and also played strings inside piano to give new gesture and timbre of piano. This thesis is divided into three parts besides introduction and conclusion. The first part describes the origin and development of new piano techniques in the 20th century. The second part investigates Cowell¡¦s compositional career, compositional methods and thoughts for piano music. The third part analyzes ways of performing tone clusters and strings in Cowell¡¦s solo piano pieces with new techniques. Through analyzing these particular techniques, the compositional methods and uniqueness of Cowell¡¦s piano music could be understood. In the meanwhile, the performers will pay more attention to avoid performing injuries and damaging pianos.

Texte remanié de: Th. doct.--Hist.--Southampton--Southampton University. / Bibliogr. p. 219-231. Index.

Diss.--Katholische Theologie--Tübingen--Eberhard-Karls-Universität, 2003. / Bibliogr. p. 225-240. Index.

Texte remanié de: Dissertation--Trier, Allemagne--Universität Trier, 2002. / Bibliogr. p. 142-149.

Dissertation--Berlin--Freie Universität, 1999. / Bibliogr. p. [315]-335.

Thèse de doctorat : Littérature générale et comparée : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr.. Index.