Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 154-158).

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains viii, 82 p. Includes bibliographical references.

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 154-158).

Thesis (M. Div.)--Emmanuel School of Religion, Johnson City, Tennessee, 2001. / Vita. Includes bibliographical references (leaves 154-158).

Proefschrift--Letteren--Universiteit Leiden, 2002. / Contient un résumé en anglais. Bibliogr. 262-275. Index.

abstract: For over a century, writings in the Law & Literature genre have been largely restricted to works concerning lawyers and courtrooms. This despite early preeminent Law& Literature scholars' assertions that the genre should incorporate any writing that examines the intersection of law, crime, morality, and society. For over a half-century, Detroit novelist Elmore Leonard has been producing well-written, introspective novels about criminals, violence, and society's need to both understand and condemn these things, all under the broad, oft-marginalized genre of crime and detective fiction. This paper pairs the work of Elmore Leonard, using his successful novel Out of Sight as a stylistic framework, with the Law & Literature genre. After a dissection of the true definition of a Law & Literature and detective fiction, as well as an excavation of underlying themes and imports of Out of Sight, it is found that Law & Literature scholars need to be more inclusive of crime novels like Leonard's. And, given the characteristics of both genres, Leonard's novels are more appropriately classified as Law & Literature rather than detective fiction. / Dissertation/Thesis / M.A. English 2012

American composer, author and conductor Leonard J. Lehrman (b. 1949) has spent a majority of his lifetime devoted to the scholarship on the music of Marc Blitzstein (1905-1964). Lehrman completed Blitzstein’s Idiots First in 1973, and finished his own one-act opera Karla in 1974. In an effort to honor Blitzstein, Lehrman included Karla along with Idiots First to begin the set of one-act operas to be titled Tales of Malamud. Lehrman coined the term “selective serialism” in reference to Blitzstein’s use of serial techniques representing something associated with death or something diabolical. Lehrman applies a similar technique in that he uses serialism to reference the presence of a handwritten notes that are tied to the dramatic context of the opera. This study examines Lehrman's use of serialism in Karla as it was directly influenced by Blitzstein’s use of serialism in Idiots First.

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