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This study attempt to analyze the style Albéniz, especially as expressed in Iberia Suite. As with all composers, his particular style is created out of his own combining and recombining the principal elements of music, arranging them in a certain way to suit his needs and taste. The musical elements are: rhythm, melody, and harmony. The study is organized in ten chapters.

Recently, literary critics have increasingly drawn on methods of quantitative analysis to understand the readers and literature of the eighteenth century. Ironically, however, the eighteenth century is home to debates concerning the nature and usefulness of number, counting, and therefore, on some level, quantitative analysis. Eighteenth-century questions of number form an important part of the intellectual history of this period; these questions of number, in turn, hold important implications for language and the period's literature. I argue that the far-reaching influence of eighteenth-century questions of number can be seen especially well in the nature poetry of James Thomson. To explore this influence, I first discuss the problems of number presented to eighteenth-century mathematicians and philosophers by George Berkeley's critique of the infinitesimal calculus popularized by Isaac Newton. I then further explain the problems of number for eighteenth-century thinkers by drawing on philosopher Alain Badiou's theorization of the collapse of number in the seventeenth and eighteenth centuries. This background brings to light connections between eighteenth-century questions of number and similar questions philosophers, such as John Locke, asked of language. These connections set the stage to discuss number in Thomson's The Seasons. Because of Thomson's rather unique exposure to the Newtonian tradition through his Edinburgh education, he was introduced not only to Newton's more popular discoveries, but also the mathematical and philosophical debates that swirled around Newton's methods. Coming out of this environment, Thomson's The Seasons display a particular kind of interest in number at its limits—infinity and zero. This paper will explore Thomson's tropological expressions of infinity and zero in the poem and note how these tropes replicate the logic of the sublime. Ultimately number at its limits in Thomson suggests the problems of expression, and, reading against traditional interpretations of Thomson, the limits of the Enlightenment project.

Isaac Morley was born in 1786, in the Atlantic seaboard city of Salem, Massachusetts. He received the common school education provided by the New England Schools. When the time came for his marriage, he was founded in a trade and was a mature man. Like his father, Isaac learned the trade of cooper and wheelwright, learned to plant and sow, to reap a harvest, and to care for cattle and sheep.He served his country with the Ohio Militia in the War of 1812. In 1830 he heard Mormon elders preach the gospel for the first time. He was convinced of the truthfulness of the message and was baptized seven months after the Church of Jesus Christ of Latter-day Saints was organized. He was ordained a high priest in June, 1831, and on the day of his ordination, Isaac was called to serve with Edward Partridge in the first presiding bishopric of the Church.

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This work adopts a feminist perspective to analyse and compare the patriarchal oppression and objectification of humans and robots in the Foundation universe. It analyses the relationships between males and females, between humans from different social and cultural backgrounds, and between humans and robots. The study attempts to capture changes that span a long period and multiple locations, exploring how those changes are triggered by different forms of patriarchal oppression and objectification. This essay concludes that various forms of patriarchal oppression and objectification exist in the beginning but start slowly disintegrating as humanity, guided by robots, move towards a greater goal of establishing a better society.

La littérature moderniste est musicale par essence. Elle souhaite éveiller des sensations chez le lecteur : le recours à la musique, art suggestif par antonomase, crée l’allusion. Comment sertir la musique dans la littérature ? Stéphane Mallarmé propose de « précéder les effets de la musique en redéfinissant celle-ci ‘d’où elle point’ » . Si l’art musical est naturellement porté par le poème, qu’en est-il de la prose ? En Espagne, Ramón María del Valle-Inclán offre un exemple probant de prose musicale dans ses Sonatas. Est-ce là tout ? Le projet mallarméen n’a-t-il pas rencontré d’écho parmi d’autres prosateurs espagnols ? Certes, l’intention y est ; les histoires de la littérature le confirment mais ne s’y attardent pas. Notre travail est donc double : il s’agit d’abord de retrouver des œuvres en prose modernistes espagnoles puis de les analyser par le prisme musical pour voir comment est saisi ce projet de fusion des arts. L'étude révèle que la musique de la prose, parfois imperceptible, raffine les sensations et sensibilise le lecteur à l’élégance, au rythme ou au phrasé d’un syntagme. En somme, la musique intérieure devient une propédeutique à l’ineffable. En creux de ce projet se dessine le rôle du poète dans la société. Celui-ci se présente comme un prêtre des temps modernes. Pourtant, le mythe auquel il tente de souscrire semble désincarné : sensible aux réalités de son époque, en quête d’un public féru de naturalisme, l’écrivain espagnol ne s’engage pas pleinement. Sa prose, hésitante, est souvent mièvre : cela explique qu’elle soit passée inaperçue aux yeux de l’histoire. / Modernist literature is by essence musical. It is meant to arouse the reader’s senses: the use of music, a suggestive art by excellence, creates the allusion. How can one insert music in literature? Stéphane Mallarmé suggests to precede the effects of music by redefining it from its origin. If the art of music is naturally expressed through a poem, how about through prose? In Spain, Ramón María del Valle-Inclán offers a prime example of musical prose in his Sonatas. Is this all that can be expected? Has there been no other echo of Mallarmé’s project in Spanish prose? Certainly the intention to do so exists; histories of literature confirm this intention but nothing more. Our work is going to be twofold: first we need to find Spanish modernist prose works, and then analyze these works through the prism of music in order to understand how the fusion of these arts (music and prose) is realized. The analysis reveals that the music of the prose, sometimes imperceptible, sharpens the senses and makes the reader more sensitive to the elegance, to the rhythm and the phrasing of a syntagm. In other words, the inner music paves the way to the ineffable. The poet’s role in society is described within this project. He presents himself as a modern times priest. Yet the myth to which he tries to subscribe lacks substance: sensitive to the realities of his time, in search of an audience keen on naturalism, the Spanish writer is not fully implicated. His prose is hesitant, often corny: this explains why it has passed unnoticed in history.

Les philosophes juifs du Moyen Âge emploient des stratégies d’écriture ésotériques pour traiter certains problèmes d’importance capitale. L’opposition de la « thèse religieuse » de la création du monde et de la « thèse philosophique » de son éternité en est l’exemple type. Ces « arts d’écrire » ont été généralement considérés, depuis les travaux de Leo Strauss, comme des moyens de dissimuler une opinion hétérodoxe, en vue de se prémunir contre la persécution politique. Nous nous engageons à comprendre cet « ésotérisme », non pas comme un stratagème politique, mais comme la conséquence proprement philosophique d’une difficulté intrinsèque à certains problèmes qui mettent en défaut les capacités expressives du langage, comme en l’occurrence la tentative d’énoncer l’origine radicale de toute chose. À partir de cette hypothèse, nous abordons le traitement de la création du monde chez des philosophes juifs actifs entre le Xe et le XVe siècles, qui soutiennent chacun une thèse différente sur la question (Saadia Gaon, Abraham Ibn Ezra, Maïmonide, Isaac Albalag, Gersonide et Ḥasday Crescas). Nous montrons comment la perspective doxographique, visant à identifier la « véritable thèse » de chaque auteur, n’est pas appropriée eu égard à de tels écrits ésotériques et nous efforçons de mettre en lumière, à travers eux, un style original du philosopher qui s’invente dans le moment médiéval de la rencontre de la philosophie et de la « révélation ». / The Medieval Jewish philosophers used esoteric writing strategies in order to deal with matters of critical importance. The opposition between the « religious theory » of the creation of the world and the « philosophical theory » of its eternity constitues one of the most typical example of such subjects. Since Leo Strauss’ works, these « arts of writing » have been generally considered as means of hiding heterodox opinions, used by the philosophers in order to avoid political persecution. We try to show that this esotericism does not stem from mere political calculation, but from intrinsically philosophical considerations : the limitation of langage itself, that fails to express certain issues, such as the radical origin of all things. From this starting point, we discuss the views and writing strategies of diverse Jewish philosophers, active between the 10th and the 15th centuries, each of whom held a different theory on creation (Saadia Gaon, Abraham Ibn Ezra, Maimonides, Isaac Albalag, Gersonides and Ḥasday Crescas). We argue that the doxographic perspective, aiming at identifying each author’s « real view », is not appropriate when dealing which such esoteric writings, which we propose to envisage as the manifestation of a specific philosophical style, emerging in the Medieval period from the confrontation between philosophy and « revelation ».

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