Thesis (Ph. D.)--Columbia University, 1939. / Vita. Thesis note on t.p. covered by label with corrected note. Published also without thesis note. Bibliography: p. [293]-305.

Thesis (doctoral)--Universität zu München, 1908. / Includes bibliographical references.

This dissertation concerns the discovery and usage of Schopenhauerian philosophy by literary schools and literary figures in France between 1860 and 1890. After a concise analysis of the fundamental concepts which structured Schopenhauer's philosophical system, and the system's role in the history of philosophy, it is suggested that the work of Richard Wagner acted as the primary conduit by which Schopenhauerian philosophy was disseminated in France, eventually finding its way into the major literary schools of the time, including Parnassianism, Naturalism, Decadence, and Symbolism. The significance of Schopenhauerian philosophy for each movement is illustrated by a close analysis of the writing of a representative figure from each movement, including Villiers d'Isle-Adam, Emile Zola, Joris-Karl Huysmans, and Stephane Mallarme. It is then further suggested that each of these individuals selectively used concepts from Schopenhauer's work as a means to philosophically structure and defend his works and his aesthetic predipositions. It is finally argued that the reason that such varied authors would use the same philosophical text for inspiration was due to the prevailing atmosphere of pessimism that permeated both the social milieu of France and the intellectual/artistic circles, a pessimism that Schopenhauer's work all too perfectly represented. / Source: Dissertation Abstracts International, Volume: 51-09, Section: A, page: 3065. / Major Professor: David Gruender. / Thesis (Ph.D.)--The Florida State University, 1990.

Verismo was established in the early 1880s by Luigi Capuana and Giovanni Verga from Sicily and roughly paralleled the development of realism and naturalism in other European countries at the time. / Theatre history survey texts list Marco Praga, Giuseppe Giacosa and Roberto Bracco as the major verist playwrights in Italy between 1890 and 1915. Treatises that study verismo in greater depth usually add Gerolamo Rovetta to complete the roster. But two women verismo playwrights have apparently become obscured by the passage of time: Amelia Rosselli and Teresa Ubertis. / This marginalization against women's artistic achievements by male-dominated historians fell under increasing scrutiny in the 1980s. It seemed as if inherited societal and cultural prejudices had buried women's artistic works in the dustbin of history; the unearthing of these works subsequently became a scholarly pursuit. / Amelia Rosselli wrote five full-length plays and four shorter plays. She also published several books of poems and short stories. Her first play, Anima, which won first place in a national competition, and her second play Illusion are verismo works arguably as significant and representative as the more famous male-authored plays. / Teresa Corinna Ubertis, also known as Teresah, wrote six plays, five books of poetry, fourteen children's books and thirteen novels, including one co-written with her husband E. M. Gray, between 1902 and 1925. The Judge, Ubertis' first and most well-known play, was produced and directed by the famous Italian actor Ermete Zacconi, who brought Ibsen to the attention of the Italian public. / In this dissertation, characters in the Rosselli and Ubertis verismo plays are compared and contrasted with characters in A Doll House and An Enemy of the People by Henrik Ibsen, and Maternity by Eugene Brieux, to determine if the verismo plays reveal a different perspective from that of the male-authored plays that might be due to a uniquely female point of view. / Passages from the author's translations of Anima, Illusion and The Judge are contained in the dissertation to contribute to the analysis of the plays and demonstrate the artistry of these marvelous but forgotten scripts. / Source: Dissertation Abstracts International, Volume: 56-07, Section: A, page: 2490. / Major Professor: Stuart E. Baker. / Thesis (Ph.D.)--The Florida State University, 1995.

Some Brazilian critics have pointed out similarities between the work of Arthur Miller and Jorge Andrade, but no study has ever been made viewing the plays of the latter in comparison with the work of the American playwright. This dissertation is a comparative study of Jorge Andrade and Arthur Miller focusing primarily on their use of real events and the themes they have in common. It consists of an introduction, five chapters and a conclusion The introduction contains a brief biography of the two authors showing some parallels in their careers, and will emphasize the effect Miller had on Andrade's work. Chapter I deals with Andrade's and Miller's use of public events and autobiographical data as sources for the composition of their plays. Chapter II concentrates on two plays, A Moratoria and Death of a Salesman, to show how the use of the past is important to the definition and understanding of the events of the present. Chapter III studies the way the playwrights develop the theme of fanaticism, in Vereda da Salvacao and The Crucible, in attacking social injustice. In Chapter IV, a careful analysis of Pedreira das Almas and A View from the Bridge is made to show how in those plays the authors use the principles of tragedy to portray groups in a moment of social transition. Chapter V deals with Andrade's and Miller's portrayal of the family, a concern which is critical in both authors since, through it, they can examine the effects of social and economic change, particularly in the conflict between generations Finally, it is pointed out that both writers experienced a 'silent' period after which their new plays reveal a great difference in tone. By studying those particular aspects in the work of Jorge Andrade and Arthur Miller, one can trace a parallel in the careers and ideals of the two authors. Through their reflections about and investigation into real human experiences, both playwrights, although writing in different countries--Brazil and the United States--offer insights which help us understand man in relation to his environment / acase@tulane.edu

From medieval to modern times knighthood and chivalry have been the themes of innumerable literary works. Among them are Cervantes' Don Quijote and Steinbeck's paisano novels The purpose of this study is to examine in a logical manner the relationship between these two authors. In the process of pointing out causes for similarities in their works, other relationships will be examined The first chapter will deal with the birth, rise, glory, decadence and fall of knighthood. This evolution will be studied through the works of authors such as Chretien de Troyes, Malory, Chaucer, Spenser and Cervantes The second chapter will investigate Malory's influence on Steinbeck's paisano novels The third chapter will examine Malory's influence on Spencer's Faerie Queene The fourth chapter will look into the relationship between Spenser and Cervantes The fifth chapter will deal with general characteristics such as themes, structure, style and philosophy in the Quijote and Steinbeck's paisano novels and stories The sixth chapter will examine similar passages in Cervantes' and Steinbeck's works The conclusion will present Steinbeck's background as the reason for the European tinge in his writings, and reassert the existence of similarities in Cervantes' Don Quijote and Steinbeck's paisano novels / acase@tulane.edu

The academic interest of this study is to establish the relevance and pertinence of Juan Rulfo's novel, Pedro Paramo, in the literary canon of western tradition. To accomplish our goal we will consider Rulfo's text in light of Carl Gustav Jung's analytical psychology, in particular the concepts of the archetypes and the collective unconscious, to demonstrate that the types and world presented in Rulfo's novel adhere to classical literary types of western tradition. We will use Jung's theory of the collective unconscious to show that what has been considered purely Mexican represents an extension of the themes and topics of interest in western tradition. To prove our point we will consider texts that are part of the literary canon of western tradition, such as: La epica de Gilgamesh; John Keats poem, "La Belle Dame Sans Merci"; Rainer Maria Rilke's poems, "Sonnets to Orpheus" and "Orpheus, Euridice, Hermes"; Ovidio's, La metamorfosis ; and Virgilio's Georgicas; as well as biblical selections in comparison and contrast to Rulfo's text. This study will establish that Juan Rulfo's work is an expression of the communal experience that concerns western literary tradition.

<p> This thesis recontextualizes the politics of Charles Brockden Brown's gothic novels in terms of the literary development of Gothicism (Friedrich Schiller) and Romanticism (Friedrich Schlegel) in Germany. This recontextualization highlights the ways in which Brown's work is participating in a transatlantic conversation about the relation of epistemology and politics in art, while underscoring how Brown's use of the gothic addresses the vital issues of grounding democratic politics in the early republic. The argument is that between his earliest extant gothic novel and his later gothic novels Brown uses Schiller's model of the gothic tale and its appeal to methodologies of epistemological verification to support democratic politics. However, in the later novels, he disregards method and uses the state of uncertainty to articulate radical subjectivity as the basis of democratic politics&mdash;<i>pace</i> Schlegel's defense of democracy.</p>

<p> I pursue the double bind of the political institution through one of its symptoms, guilt, and the relationship between the attribution of guilt and the very law which announces and justifies the double bind of the political institution. My dissertation is an interdisciplinary engagement with various contemporary&mdash;explicitly political&mdash;invocations of the notion of guilt. Specifically, I'm interested in the ways in which the attribution of guilt to subjects, to leaders, and to institutions operates in various discourses and disciplines, including politics, literature, philosophy, psychoanalysis, and law. These various political uses of the concept of guilt &ndash; as criminality (chapters 1 and 2), as femininity (chapter 3), and as homogenized resistance (chapter 4) &ndash; are a kind of shorthand, a cover, for the law. I will be arguing that "guilting" operates dominantly as justification, erecting a screen on which the undecidability of the law is simultaneously displaced and projected as the certainty of guilt. The irony is that guilt always reveals the law only in its failure. By guilting "the sovereign" revolutionary movements inaugurate and certify a new law; similarly, the government (judicial, police, and military bureaucracy) preserves the law through the guilting of its supposed others (criminals, the enemy). This desire for the law that the analysis of guilt reveals is a desire to master contingency and difference: it is a desire for a purified, contained, predictable, and thoroughly utopian space of relationality, a site where difference is rendered docile. In following the nuances of different political iterations of guilt as well as its political uses as justification for violence and force, each chapter reveals guilt as a crisis endemic to the law itself. However, in so far as it is a crisis of identity, each chapter, I hope, provides openings through which our own personal and phenomenological attachments to those very identities can be considered and challenged, perhaps allowing for the possibility of a working through those very attachments and the recognition of the irretrievable heterogeneity of their meanings.</p>

<p> This dissertation focuses on the elements of performance that contribute to the actress&rsquo;s development of somatic practices. By mastering the art of articulation and vocalization, by transforming their bodies and their environment, these actors created their own agency. The female actors lived the life of the characters they portrayed, which were full of multicultural models from various social and economic classes. Somaesthetics, as a focus of sensory-aesthetic appreciation and somatic awareness, provides a pragmatic approach to understanding the unique way in which the woman of the early modern Spanish stage, while dedicating herself to the art of acting, challenged the negative cultural and social constructs imposed on her. Drawing from early modern plays and treatises on the precepts and practices of the acting process, I use somaesthetics to shed light on how the actor might have prepared for a role in a <i>comedia</i>, self-consciously cultivating her body in order to meet the challenges of the stage.</p>