Thesis (M.A.)--University of Adelaide, Department of English, 1976.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998. / Includes bibliographical references (leaves 80-86). / Horatio Greenough (1805-1852), the Bostonian sculptor, is an important intellectual of the antebellum United States. The sculptor is renowned for his two colossal pieces that were placed on the grounds of the U.S. Capitol, ''Rescue'' and "George Washington," together with his writings on architecture. Greenough's writings echo the discursive agenda of modem architecture to a surprising degree in terms of truth to material, refraining from ornament, the machine analogy, the building's adaptation to the site, the organic growth of form and the expression of the inside on the outside. Therefore texts of architectural historiography, especially written during the 1940s and 1950s when functionalism was a strong discourse, regard him as a protomodernist who influenced the course of 20th century functionalism and modem architecture. However, his sculpture is surprisingly neo-classicist for those who refer to him as a pioneer of modem architecture. This apparent contradiction brings us to the need to understand Greenough's thoughts better in the context of 19th century architectural theory and the history of functionalism as a discourse. Thus, this study aims to re-contextualize Greenough's work to understand his thoughts on architecture. His writings and his sculpture are viewed in the light of his ideological position with reference to its moral, religious, and nationalist constituents. It also questions the perception of architectural theory as a pure and detached body of knowledge, abstracted from the historical context that engendered its formulation. Such an abstraction is the main reason for aesthetic discourses to appear similar. This study also sheds light on the problematic position of the historian in terms of reconstructing history filtered through his own agenda. While it exemplifies this position by Greenough's case, it reformulates that history through a contextual reading with specific reference to architecture. / by Erdem Erten. / M.S.

Thesis (Ph.D.)--Boston University / This dissertation is a prolegomenon to the study of (1) the early philosophy of Horatio Willis Dresser (1866-1954) as it relates to New Thought and (2) the philosophical foundations of New Thought as they relate to Dresser. New Thought is a philosophical-religious movement which originated in the United States in the nineteenth century. While it seeks to provide a complete approach to life, its primary field of emphasis has been healing by nonphysical means. New Thought's background is provided by the ancient tradition tradition of religious healing, American philosophy largely of the nineteenth century, and speculation inspired by phenomena produced by mesmerism, also known as animal magnetism [TRUNCATED]

Thesis (M.A.)--Boston University / Horatio William Parker (1863-1919) was a prominent American composer who belonged to the Second New England School (the "Boston Six"), and served as the Dean of Music at Yale University from 1904 until his death. His opera Mona (Opus 71) was created in collaboration with his librettist, Brian Hooker (1880-1946), as an entry to a contest that was being held by the Metropolitan Opera Company for the best English-language opera written by an American-born composer. Parker and Hooker won the contest, and received $10,000 in prize money along with a production of Mona at the Met. The contest generated a considerable amount of interest in the American musical community, and sparked debate concerning the characteristics that should epitomize "American" opera. After difficult rehearsals and extensive revisions, Mona premiered on March 14'h, 1912. Despite its lavish production, the opera was met with a lukewarm reception by the American public, and failed to make its way into the permanent repertory of the Met. Willie American opera of this era was commonly criticized for being simple and frivolous, Mona is notable for being a serious opera of considerable complexity that was ultimately rejected by the American public. The opera is also significant in that it seems to mark a turning point in Parker's biography, after which he placed greater emphasis on the popular appeal of his compositions.

Thesis (M.A.--Art History)--University of Auckland. / Title from title screen (viewed on 18 June 2009). Creation of machine-readable version: Aptara. Conversion to TEI.2-conformant markup: Samantha Callaghan. Creation of digital images: Aptara.

Horatio Lord Nelson, Britain's most famous naval figure, revolutionized what victory meant to the British Royal Navy and the British populace at the turn of the nineteenth century. But his legacy continued after his death in 1805, and a century after his untimely passing Nelson meant as much or more to Britain than he did during his lifetime. This thesis utilizes primary sources from the British Royal Navy and the general British public to explore what the cultural memory of Horatio Nelson's life and achievements meant to Britain throughout the Edwardian era and to the dawn of the First World War. An introductory literature review provides a thorough explanation of how Nelson's legacy has been perceived by past historians and how this legacy will be examined throughout the thesis. The manner in which Nelson was viewed by both his naval contemporaries and the general British public during his lifetime is then surveyed, with a specific focus on the outpouring of national grief that followed Nelson's death at the Battle of Trafalgar in 1805. A major portion of the thesis explores how Nelson's legacy developed throughout the century following his death. Separate studies of Nelson's professional memory among his Royal Navy successors and his cultural memory in British society as it became ever more focused on naval concerns follow; these take the thesis chronologically up through the final decades of the nineteenth century and are then combined in a discussion of the degree to which Nelson's legacy permeated all Britons, regardless of profession, in the early years of the twentieth century. The thesis concludes with a brief discussion of the impact Nelson's legacy had on Britain during the early months of the First World War and a broader analysis of how the cultural and professional memory of Horatio Nelson's naval achievements in 1805 created an atmosphere in which a naval victory decisive enough to satisfy all aspects of British society was impossible in 1914.

This research aims to explore the place of marginality (or that which is not the immediate focus of narrative) in the context of the play and through the examination of the characters of Fortinbras and Horatio, in William Shakespeare’s Hamlet. The intended outcome is to encourage diversified perspectives and approaches to the play by focusing on the marginal themes and/or characters. The chapters address the characters of Fortinbras and Horatio; the first inverts the protagonist/foil relationship by reading Hamlet as a foil to Fortinbras, while the second uses Freud’s “The Uncanny” as a way to understand Horatio’s role in the play, as its uncanniest phenomena. Both are marginal to the text, but both are significant to the understanding of the text. Essentially, the objective is to encourage readings of the play, and of narratives, that appreciate the complexity of marginality, in order to broaden the language for future research.

Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. / School of Music

Thesis (Ph. D.)--Cambridge University, 1980. / Includes bibliographical references (p. 364-390 (2nd group)).

The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.