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Dissertation (Ph. D.) -- Florida State University, 2004. / Advisor: Kevin Fenton, Florida State University, School of Music. Title and description from dissertation home page (viewed 9-24-04). Document formatted into pages; contains 303 pages. Includes biographical sketch. Includes bibliographical references.

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The philosopher Heraclitus has been renowned for a great amount of time. Despite that fact the remaining fragments of his work have just recently been assembled to the composed form they have today. Among these fragments there are a couple of terms that stands out amongst others; one of them is the term logos. The main focus of this thesis is devoted to the mystery and usage of the term logos, which comes into a great display in fragment number 50. The ambition of the thesis is to evaluate and compare three interpreters’ readings of Heraclitus while having a close focus on his usage of the word logos in fragment 50. One of these interpreters, Martin Heidegger, may have the most radical reading of Heraclitus’ logos among the three. Because of his philosophical standpoint he interprets Heraclitus in a way which has never been done before. The other two do not have Heidegger’s phenomenological perspective, by which Heidegger broadens our understanding of Heraclitus fragments, which isn’t as the thesis will show unproblematic. The other two interpreters G.S. Kirk and Charles H. Kahn both do a thorough reading and translation of all the fragments, whereas Heidegger is more selective in his reading of the fragments. Heidegger doesn’t have the same intention in his interpretation as Kirk or Kahn; therefore may he be said to be more selective in his reading of Heraclitus. While Kirk and Kahn depict a more naturalistic ethic tendency in Heraclitus, Heidegger illustrates an ontological tendency which speaks about being and its’ constitution and expression as such. At the end of the thesis there is an analytic part which compares and investigates the possible difficulties in comparing the three readings. The thesis acknowledges the possibility of impossibility in ever understanding the extent of Heraclitus thoughts around logos; the three interpreters hopefully show the scope of understanding Heraclitus’ thoughts around this term.

Thesis advisor: Davarian Baldwin / The multi-instrumentalist Rahsaan Roland Kirk (1936-1978) was one of the most thrilling jazz performers of the Sixties and Seventies, wowing audiences with his lively blend of musical styles and his unique ability to play multiple saxophones at once. Still, one particularly exciting aspect of his life is unfamiliar to most, jazz fans included. In 1970, Kirk formed an activist group which he dubbed the Jazz and People’s Movement (JPM), with the purpose of lobbying television networks to broadcast more jazz and black musicians. And in order to ensure the networks took the call seriously, the JPM seized the television studios by storm – during the taping of major prime-time programs! The JPM was one among many self-help collectives working in New York and Chicago at the time, all seeking to mediate the material and cultural stresses facing musicians following jazz’s sharp decline in the 1960s. Kirk’s movement was unique, however, in identifying mainstream culture industries as a key site of struggle in the politics of production, documentation, and dissemination. And the JPM’s dynamic public disturbance tactics contrasted with the quieter, inward-looking programs of other collectives. Its aesthetic inclusivism also set it apart from most other jazz community groups which heavily favored avant-garde music. Under Kirk’s leadership, the JPM demonstrated that the mass production and consumption of art and culture had important political relevance and power for the liberation of black music specifically, and of black America more generally. Although the movement was short-lived and did not achieve many of its stated goals, it provides a visible intersection of music, race, and society, and is thus a highly valuable historical subject. This thesis explores the impact of Kirk’s political and aesthetic ideals on his conception of the JPM; the consistently interconnected material and cultural underpinnings of the movement’s agenda; the group’s protest actions, and the accompanying reactions in the music community and the press; the causes of the JPM’s dissolution; and the movement’s broader impact and legacy. / Thesis (BA) — Boston College, 2008. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: History. / Discipline: College Honors Program.

Thesis (D. Min.)--Trinity International University, 2004. / Abstract. Includes bibliographical references (leaves 213-219).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (D. Min.)--Trinity International University, 2004. / Abstract. Includes bibliographical references (leaves 213-219).

Thesis (D. Min.)--Trinity International University, 2004. / Abstract. Includes bibliographical references (leaves 213-219).

From 1962 to 1975, General Features Corporation distributed a column by traditional conservative Russell Kirk. The column appeared on the political page of newspapers across the country under the title “To The Point”.1 The column provided social commentary on a wide variety of topics ranging from foreign policy, to civil rights, to feminism. Papers that carried the column included Los Angeles Times (1962-early 1968), New Orleans Time-Picayune (late 1962-late 1971), Detroit News (early 1970-1975).2 The research for this thesis included both primary and secondary sources. The primary sources included articles housed at the Russell Kirk Center for Cultural Renewal, Mecosta, Michigan, the University of Tennessee library, and the Sherrod library at East Tennessee State University.