Thesis (M.A.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 54-57).

Thesis (M.A.)--Memorial University of Newfoundland, 2001. / Bibliography: leaves 139-140.

Thesis (M.A.)--University of Nevada, Reno, 2008. / "December, 2008." Includes bibliographical references. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 133-142). Available also in a digital version from Dissertation Abstracts.

Issued also as thesis, Tübingen. / Bibliography: p. 241-265.

Inaug.-Diss.--Freiburg im Breisgau. / Lebenslauf. Published also as Hft. 32 of Abhandlungen zur mittleren und neueren Geschichte. Includes bibliographical references.

Thesis (Ph. D.)--Oxford Graduate School, 2001. / Abstract. Includes bibliographical references (leaves [118]-178).

Thesis (Ph. D.)--Ohio State University, 1971. / Includes bibliographical references (leaves 141-151). Available online via OhioLINK's ETD Center.

Wondrous Love (public domain) is an old American hymn tune that I have known for a long time, and I have used it as the primary source material for my Chamber Symphony, trying throughout the piece to vary the texture and mood of the music. The piece opens with a sort of static texture, which gives way to a section where veiled references to the hymn tune become gradually more apparent. This veiled section almost dies away when the next section begins with a clear woodwind choir announcement of the first part of Wondrous Love. This short section, which is primarily transitional in nature, then moves through the strings, brass, and other instruments to effect a modulation into the next section. The next section is the first full announcement of the Wondrous Love hymn tune. While the music itself does not really change for the next two iterations of the tune in the section, the instrumentation is varied, and there is a modulation. This rather transparent music then dies away to a single note in the violins; this serves as a transition into a dreamlike section. This dreamlike music ends rather suddenly with an explosive tutti moment of which augmentation and open sonorities are the most salient features. The piece then comes to a close shortly thereafter with music that gradually dies away. / text

This essay offers an intellectual history of the feud between the Frankfurt School philosophers Erich Fromm and Herbert Marcuse. In the competitive space of their debate, both thinkers attempted to redefine the spiritual experience and practice of love in a modern society. While a criterion for both Fromm and Marcuse was that love must be politically and historically radical, their different visions of that historical radicalism - exemplified in their 1955 debate in Dissent, and the two texts published immediately after their debate, Marcuse’s Eros and Civilization (1955) and Fromm’s The Art of Loving - parted ways at the idea of perversion. Perversion became a central procedure in Marcuse’s praxis of a real “outlawed” love that could negate modernity’s excessive sociability of guilt. For Fromm, perversion remained a “spiritual” form of regression away from love and maturity that he likened to violence. In both instances, the memory of German fascism was key to the (un)productive mistranslation of their ideas on love and perversion. / text