Hallucination was always the ghost story's elephant in the room. Even before the vogue for psychical research and spiritualism began to influence writers at the end of the nineteenth century, tales of horror and the supernatural, of ghosts and demons, had been haunted by the possibility of some grand deception by the senses. Edgar Allan Poe's stories were full of mad narrators, conscience-stricken criminals and sinners, and protagonists who doubted their very eyes and ears. Writers such as Dickens and Le Fanu continued this idea of the cheat of the senses. But what is certainly true is that, towards the end of the century, hallucination took on a new force and significance in ghostly and horror fiction. Now, its presence was not the dominion of a handful of experimental thinkers but the province of popular authors writing very different kinds of stories. The approaches had become many and diverse, from Arthur Machen's ambivalent interest in occultism to Vernon Lee's passion for art and antiquity. Henry James's The Turn of the Screw (1898) is the most famous text to pose a question that was, in fact, being asked by many writers of the time: reality or delusion? Other writers, too, were forcing their readers to assess whether the ghostly had its origins in some supernatural phenomenon from beyond the grave, or from some deception within our own minds. This thesis explores the many factors which contributed to this rise in the interest in hallucination and visionary experience, during the period 1880-1914. From the time when psychical research became hugely popular, up until the First World War often considered a watershed in the history of the ghost story and literature in general something happened to the ghost story and related fiction. Through a close analysis of stories and novels written by Robert Louis Stevenson, Vernon Lee, Henry James, Arthur Machen, and Oliver Onions, I attempt to find out what happened, and even more importantly why it happened at all.

In the scholarship surrounding piano repertoire, Henry Cowell is seen as a kind of “one-hit-experimental-wonder,” being know mostly for his astonishingly progressive piece The Banshee. However, Cowell was an enigmatic composer, a diverse scholar, an influential proponent new music, as well as a music theorist and comparative musicologist. Therefore in order to gain a more complete understanding of Cowell and his deeply influential piano works, this project seeks to explore the philosophical, cultural, and non- Western musical influences that inspired Cowell’s novel experimentation at the piano.

ENGLISH ABSTRACT: This thesis examines the late novels of Henry James in the light of a distinction between "resolved" and "unresolved" ironies. The first chapter aims to clarify this distinction, arguing that in "traditional" ii'onie works the dominant irony is characteristically "resolved": that is, such works are structured upon the gradual enlightenment of the protagonist, to issue in the extinction of irony as such a protagonist achieves equality of insight with the reader. Such resolution, it is argued, is dependent on the author's access to and acceptance of a stable system of values. Conversely, where such stable communal values seem to the writer to be inconsistent with the unstable reality he perceives, the dominant irony of the work, in not being based upon a clearly defined or implied norm, is likely to remain "unresolved". The second chapter approaches the nineteenth-century novel as the product of a society generally perceived to be based on firmly established values. Resolved irony thus predominates in these novels, but not as the vehicle of a complacent view of society: the irony is usually dependent on the perceived need for change in society, its resolution being posited on a belief in the possibility of such change. As such a belief weakens, an unresolved element becomes more evident in these novels, to predominate by the end of the century. The third chapter uses James' The Ambassadors to show how unresolved irony can result from an author's exploration of his subject beyond the confines of his declared intention. In thi's instance, it is argued, the unresolved irony is a function of a more complex view of his pro, tagonist than James seems to have foreseen. The fourth chapter develops this enquiry by showing that in The Wings of the Dove James' subject once again grew beyond the projected outline, but in this case with James fully avlare of the development. Unresolved irony, though still a product of "unintended" meanings, thus more consciously reflects a critical view of its subject. The fifth chapter adduces The Goleen Bowl as James' most sustained work of unresolved irony. It is the aim to demonstrate that the novel's meaning is entirely a function of this lack of resolution, the controlling vision being that of a society in which professed values are hopelessly at odds with true motives. Joseph Conrad and D.H. Lawrence are consistently used for comparison and contrast with James, partly to demonstrate their awareness of the attractions· and dangers of irony as a response to perplexity, and partly to claim for James a place next to them as a profound commentator on the early twentieth century.

Gerald Heard (1889-1971) was an influential figure among the intelligentsia of the 1930s, once described by E.M. Forster as “one of the most penetrating minds in England.” However, he remains an ill-defined footnote, a marginal figure whose influence and reputation, although acknowledged, remains unexamined. This dissertation examines his life and work, and considers the role which Heard, as a generaliser and public intellectual, played in the intellectual landscape of the 1930s. Central to Heard’s philosophy was a belief that society was in need of a spiritual and psychological force which could allow isolated individuals to participate in community with one another. Heard’s solution to bring about this evolution of consciousness would prove to be partly psychological, partly mystical and partly down to the product of a particular way of living. The first chapter outlines Heard’s philosophy in detail. Subsequent chapters are structured so as to provide a loose biographical chronology, each focussing on a different phase of Heard’s career and examining the development of his thought. Running throughout the dissertation is a consideration of Heard’s role as a public intellectual. It was as a popular ‘generaliser’ of thought that Heard found his public, and the limited degree of success he found as a man of action could be seen to be a natural limitation of the role he had constructed for himself. Chapter II focuses on Heard’s time as personal secretary to Sir Horace Plunkett, father of the Irish Co-Operative Movement, and how the ideals of this movement can be seen to inform his developing ideas of human community. Chapter III looks at Heard’s role as a broadcaster with the B.B.C., where he became a noted populariser of science, firmly establishing himself as a public figure and cultural authority. It is arguably this increased public profile which provided Heard with a ‘public’ to whom he could address his ideas. Chapter IV, drawing on archival material from Dartington Hall, considers Heard’s role as a lecturer at Dartington School, and more importantly his first experiment to establish a small ‘group’ for meditation in an attempt to discover the mystical and psychological basis for a co-operative society. Chapter V examines his career as an outspoken pacifist, where he would advance his arguments for a radical reorganisation of society as a practical solution to the question of peace and further attempt to become a man of action.

This study explores the different ways in which music of the early-Tudor period can be analysed. Approaching the analysis first from a performer’s perspective, it takes the surviving works of Robert Fayrfax (1464–1521) as a case study. Fayrfax was chosen both because of the important rôle he plays within the chronology of changing style in early Tudor England, and because of the lack of a convincing analytical survey of his surviving works. Various analytical methods are developed by drawing upon three areas of investigation: (1) previous analyses of renaissance polyphony; (2) sixteenth-century music theory; and (3) hermeneutics. The basic issues and problems encountered when approaching early Tudor works from an analytical perspective are addressed in the Preface, and discussed in more detail in Chapters 1-3. These chapters form a theoretical basis for the work as a whole. Chapters 4-8 provide a detailed analytical interrogation of Fayrfax’s works, addressing five areas of investigation: the selection and development of pre-compositional material; rhythm and metre; mode and cadential planning; texture and tessitura; and motif, imitation, and free counterpoint. Whilst this study focuses specifically on the works of Robert Fayrfax, it is hoped that works by other early Tudor composers can also be examined using the analytical methods developed.

The thesis discusses the development of nineteenth century responses to the United States. It hinges upon the premise that travel writing is narrative and that the travelling itself must therefore be constructed (or reconstructed) as narrative in order to make it available for writing. By applying narratology to the work of literary travel writers from Frances Trollope to Henry James I show the influence of travelling point of view and writing point of view on the narrative. Where these two points of view are in conflict I suggest reasons for this and identify signs in the narrative which display the disparity. There are several influences on point of view which are discussed in the thesis. The first is mode of travel: the development of steamboats and later locomotives increasingly divested travellers from the landscape through which they were travelling. I concentrate on Frances Trollope, Charles Dickens and Mark Twain travelling by boat, and Robert Louis Stevenson and Henry James travelling by rail to examine how mode of travel alters travelling point of view and influences the form of travel writing. The second is the frontier: writing from a liminal space creates a certain point of view and makes travel not only a passage but a rite of passage. I examine travel texts which discuss the Western frontier as well as the transatlantic frontier. As the opportunity for these frontier experiences diminished through the spread of American culture and developments in travel technology, so the point of view of the traveller changes. A third point of view is provided by European ideas of nature and beauty in nature. The failure of these when put against American landscapes such as the Mississippi, prairies, and Niagara forms a significant part of the thesis, the fourth chapter of which examines writing on Niagara Falls in guidebooks and the travel texts of Frances Trollope, Dickens, Nathaniel Hawthorne, Anthony Trollope, Twain and James. Other points of view include seeing the United States through earlier travel texts and adopting a more autobiographical interest in travelogues. In the final chapter the thesis contains a discussion of the nature of truth in travel writing and the tendency towards fictionalisation. The thesis concludes by considering the implications for truth of having various travelling and writing points of view impact upon constructing narrative out of travel.

Ce mémoire porte sur la réception de Heidegger par Corbin et comprend trois parties : l’appropriation spirituelle que fait Corbin de l’analyse heideggérienne de la phénoménologie herméneutique élaborée dans l’introduction et la première partie de Être et Temps ; son appropriation spirituelle de l’analyse heideggérienne de la temporalité et de l’historialité du Dasein traitée dans la deuxième partie de Être et Temps ; enfin, nous nous pencherons sur le problème de l’imagination qui amène Corbin à prendre un chemin différent que celui de Heidegger dans Kant et le problème de la métaphysique et qui mène Corbin à la dimension où un monde spirituel s’ouvre et qu’il comprend à partir de la pensée des grands mystiques irano-islamiques. La réception de Heidegger par Corbin concerne ainsi davantage la manière dont Heidegger élabore la phénoménologie herméneutique et la temporalité et l’historialité du Dasein que l’ensemble du projet heideggérien et sa propre vision du monde, avec laquelle Corbin prend ses distances. La question reste alors de savoir si l’appropriation par Corbin de la pensée irano-islamique est vraiment compatible avec l’analyse heideggérienne. / Among several sources of Henry Corbin's thought, this master thesis concentrates upon his reception of Heidegger and contains three parts: 1/ Corbin’s spiritual appropriation of heideggerian analysis of hermeneutical phenomenology, elaborated in the introduction and the first part of Being and Time ; 2/ his spiritual appropriation of Heidegger’s analysis of the temporality and historicality of Dasein which is dealt with in the second part of Being and Time ; 3/ finally, we will focus on the question of Imagination which leads Corbin to take a different route than Heidegger’s and that brings him to a level where a spiritual world opens up. The reception of Heidegger by Corbin thus concerns more the way Heidegger elaborates his analyse of hermeneutical phenomenology, temporality, and historicality than on the totality of the heideggerian project. The question therefore remains if Corbin’s appropriation of the heideggerian analysis is compatible with his reading of irano-islamic thought.

By tracing the development of the epic, oral and written, as in Chapter III, the qualities that are characteristic of the epic and the devices associated with the epic through continued usage were found to be the constant factors upon which the definition of the epic is formulated. The application to Hiawatha of the epic definition in terms of form, theme, subject matter, characters, tone, the use of the supernatural, and the use of characteristic devices, strengthens the thesis that Longfellow has written an epic.

The purpose of this study is to examine I. M. Pei and his partner Harry Cobb's downtown Dallas architecture within the context of their overall stylistic development. This paper explores the structure of five buildings within the framework of the city, and addresses their possible influence on the city's future architectural direction. The thesis is divided into six chapters. Chapter I introduces and states the problem as it discusses the fabric of Dallas architecture. Chapter II outlines a brief biography of I. M. Pei, looking to those who have influenced him, while discussing the key public buildings of his stylistic development. Chapter III is devoted to Pei's first structure in the city, the Dallas Municipal Administration Center. Chapter IV explores the concepts of his planned Morton H. Meyerson Symphony Center. Chapter V outlines a brief biography and focuses on the work of Harry N. Cobb: One Dallas Centre, ARCO Tower, and the Allied Bank Tower. Chapter VI summarizes the contributions of Pei and Cobb by placing them within the context of twentieth century architecture, and pointing out their specific achievements with their additions to the fabric of Dallas architecture.

This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design. This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders. Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.