Th. Etat--Musicologie--Paris-4, 1997. / Catalogue des variations de R. Schumann p. 463-701. Glossaire p. 796-809. Bibliogr. p. 811-844. Index.

Th.--Etud. anglaises--Toulouse 2, 1987.

A dissertação propõe o exame da teoria da justiça e do Estado apresentadas pelo filósofo americano Robert Nozick em sua obra Anarchy, State and Utopia (1974). Na primeira parte do trabalho, três conceitos fundamentais da tradição liberal clássica são examinados: estado de natureza, justiça e direitos, e Estado Liberal. Os paradigmas adotados são John Locke e Immanuel Kant. O primeiro, porque Nozick parte de pressupostos lockeanos para desenvolver sua teoria do Estado. O segundo, pelo paralelismo entre a concepção de justiça de Nozick e a do filósofo alemão. Na segunda parte da dissertação, procede-se ao exame do modo como Nozick abordou os conceitos a que alude a parte inicial do trabalho. A conclusão propõe identificar as aproximações e divergências de Nozick com a sua própria tradição. / This work proposes the examination of Robert Nozick‟s Theory of justice and state in his book Anarchy, state and Utopia (1974). In the first part, three main concepts of the classical liberal tradition are sutied: state of nature, justice and rights, and the Liberal State. The thought of John Locke and Immanuel Kant are the adopted paradigms. The former, because Nozick assumes lockean concepts to develop his theory of the state. The later, because of the approximation between Nozick‟s concepts of justice and the one of the philosofy born in Könisberg. In the second part, the object is to undercover how Nozick described the same main concepts of the classical liberal tradition. Conclusively, this work proposes to identify the convergences and divergences between nozick and his own tradition.

Writing in 1970 of Robert Simpson's music, Hugh Ottaway said, "Simpson's ideal is a Beethovenian dynamism and comprehensiveness, an active unity in which powerful forces are embraced and subdued: a sense of re-engagement with the humanist mainstream, clear-headed and unsentimental is implicit in everything he writes." Simpson's dogged musical integrity has resulted in a high degree of consistency and homogeneity in his compositional development. But in the thirty-seven years that he has been writing symphonies his approach to the ideals mentioned by Ottaway has deepened in strength and subtlety and his achievement has steadily increased in breadth and power. This dissertation traces his development as a symphonist. The discussion of Symphonies 1-3 demonstrates how their dynamic approach to tonality is expressed in terms of sustained keyconflict. Particularly close attention is given to the Third Symphony - probably the finest of the three. From the early 1970s onwards a change is detectable in the way In which Simpson organises his music. Emphasis upon keyconflict gives way to a concern with the generative powers of certain intervals and the analyses of the symphonies from No.4 onwards reflect the increasing concentration with which Simpson derives his material from a small group of intervals. The analytical approach to each work is essentially a narrative one in keeping with the organic manner in which Simpson's music grows. The dissertation ends with a brief commentary upon Symphony No.10 which, at the time of writing has only just been completed and remains unperformed.

A dissertação propõe o exame da teoria da justiça e do Estado apresentadas pelo filósofo americano Robert Nozick em sua obra Anarchy, State and Utopia (1974). Na primeira parte do trabalho, três conceitos fundamentais da tradição liberal clássica são examinados: estado de natureza, justiça e direitos, e Estado Liberal. Os paradigmas adotados são John Locke e Immanuel Kant. O primeiro, porque Nozick parte de pressupostos lockeanos para desenvolver sua teoria do Estado. O segundo, pelo paralelismo entre a concepção de justiça de Nozick e a do filósofo alemão. Na segunda parte da dissertação, procede-se ao exame do modo como Nozick abordou os conceitos a que alude a parte inicial do trabalho. A conclusão propõe identificar as aproximações e divergências de Nozick com a sua própria tradição. / This work proposes the examination of Robert Nozick‟s Theory of justice and state in his book Anarchy, state and Utopia (1974). In the first part, three main concepts of the classical liberal tradition are sutied: state of nature, justice and rights, and the Liberal State. The thought of John Locke and Immanuel Kant are the adopted paradigms. The former, because Nozick assumes lockean concepts to develop his theory of the state. The later, because of the approximation between Nozick‟s concepts of justice and the one of the philosofy born in Könisberg. In the second part, the object is to undercover how Nozick described the same main concepts of the classical liberal tradition. Conclusively, this work proposes to identify the convergences and divergences between nozick and his own tradition.

A dissertação propõe o exame da teoria da justiça e do Estado apresentadas pelo filósofo americano Robert Nozick em sua obra Anarchy, State and Utopia (1974). Na primeira parte do trabalho, três conceitos fundamentais da tradição liberal clássica são examinados: estado de natureza, justiça e direitos, e Estado Liberal. Os paradigmas adotados são John Locke e Immanuel Kant. O primeiro, porque Nozick parte de pressupostos lockeanos para desenvolver sua teoria do Estado. O segundo, pelo paralelismo entre a concepção de justiça de Nozick e a do filósofo alemão. Na segunda parte da dissertação, procede-se ao exame do modo como Nozick abordou os conceitos a que alude a parte inicial do trabalho. A conclusão propõe identificar as aproximações e divergências de Nozick com a sua própria tradição. / This work proposes the examination of Robert Nozick‟s Theory of justice and state in his book Anarchy, state and Utopia (1974). In the first part, three main concepts of the classical liberal tradition are sutied: state of nature, justice and rights, and the Liberal State. The thought of John Locke and Immanuel Kant are the adopted paradigms. The former, because Nozick assumes lockean concepts to develop his theory of the state. The later, because of the approximation between Nozick‟s concepts of justice and the one of the philosofy born in Könisberg. In the second part, the object is to undercover how Nozick described the same main concepts of the classical liberal tradition. Conclusively, this work proposes to identify the convergences and divergences between nozick and his own tradition.

My doctoral dissertation is an interdisciplinary study of music and literature and stems from my M.A. thesis (U.N.B., 1992) which examined musical form and dramatic theme in three of Shakespeare's comedies. As the survey in Chapter 1 of the present dissertation shows, the general trend in interdisciplinary studies moves from a coverage of wide ranges of music and literature, as in Calvin S. Brown's study of 1948, to an investigation of one or two artists, represented by Thomas S. Grey's recent study of Wagner's musical prose (1995). This dissertation examines two 19th-century artists who display particular interests in the relationship between music and literature, and who practise and develop both arts to a high degree. Robert Browning's and Richard Wagner's aesthetic, poetic, and musical theories provide an account of their artistic growth and their realisation that music is the key to their poetic art and their own self-awareness. Their mature works allow their readers or audiences to experience art to a deeper level and provide ideal models for interdisciplinary study. The introduction to Chapter 1 traces Browning's early interest in the relationship of the arts and his empathy for the young poet in Pauline. Just as that speaker uses the mysterious powers of song to guide his thoughts and artistic queries, Browning begins to understand and use the technical, stylistic, and aesthetic qualities of music to develop his poetic art. Wagner's career also follows a path from self-doubt to self-awareness, and his rediscovery of the orchestra's power in Tristan parallels Browning's realisation of music's force in “Saul.” Chapter 2 summarises and compares Browning's and Wagner's theories and shows how their artistic explorations lead to the writing of The Ring and the Book and the Ring cycle, and their interest in using a variety of textures to control their motivic techniques. Chapters 3 and 4 consist of a close textual examination of two major motives in Browning's The Ring and the Book (in Books 1 and 7) and two major leitmotives in Wagner's Siegfried, and looks particularly at formal, technical, and stylistic similarities and differences. In this respect, my study follows in the spirit of Calvin S. Brown's comparative study. My methodology also borrows from Robert Wallace's comparison of Jane Austen and Mozart (1983), and his investigation was influential in choosing and limiting specific points of analysis. My dissertation examines musical and dramatic details in the areas immediately surrounding Wagner's leitmotives, and the poetic lines which precede and follow Browning's motives; it expands current critical perspectives of motivic practice, and moves beyond previous studies which trace technical details of the motif but do not identify the subtle changes inform and meaning which allow the motif to be effective. My project concentrates on two areas common to the two arts—technical and formal aspects, and stylistic features. In particular, I focus on the artists' creative strategies and their use of motivic techniques to enhance characterisation or to advance dramatic meaning. Further, it reveals their interest in the interaction of the audience or listener, and highlights artistic trends in large-scale works of the 19th-century. My dissertation concludes by pointing to new directions that might be taken by further comparative studies, and the comparison of other interdisciplinary techniques used by poets and musicians to enhance dramatic and narrative goals. / Graduate

It is the argument of this thesis that Robert Duncan's poetry arises out of a conviction that the poem is a vital process, depending on an active interaction or interplay between the poet and language, his medium. The argument rests on the assumption that Duncan's poetry as a whole, is a testimony of a spiritual process, with each individual poem being in some way a mystery and a revelation and, therefore, an instrument in the process of the spirit. The aesthetics underlying this concept of art are examined in the introductory chapter. In the next four chapters, the elements that contribute to the poetic process - generally defined as the work of the poem and the work of the poet - are analyzed, through an examination of selected poem and prose statements. A division is made of Duncan's work into two periods, in Chapter 2, with the rest of the study being focused on the second (later) period of writing, where Duncan's increased attention to language process is found to be instrumental in creating a poetry that is truly a vital process. The early work is briefly discussed in Chapter 2, as an exploration of the subject of love, that being its distinguishing characteristic, and also as a foundation for the later work. Germs of later developments are noted in Duncan's attention to psychological, magical, and musical processes in the the poem, and are discussed in "Towards an African Elegy," "Medieval Scenes," and "The Venice Poem," respectively. Chapter 3 turns to the later work, Letters, The Opening of the Field and Roots and Branches. Duncan's evolving concept of language as the source and place of revelation, and as the instrument, also, of approaching a transcendent communal reality, is traced through Letters to its full definition in the first poem of The Field, "Often I Am Permitted to Return to a Meadow." Preparatory to discussing the other half of the process - the poet's actual workings in the poem - Chapter 4 considers the poet's place in the poem, and his general function in its process. Duncan's two major poems of the later work, "The Poem Beginning with a Line by Pindar," and "Apprehensions" are discussed here to demonstrate the claim that Duncan assumes no omniscience in the poem; his position is one of limited awareness. It is found that he functions in the poem through an interplay or interaction between the creation of the poem and his consciousness. Finally, the precise nature of his participation, his working of the language toward a possible music through tone leading of vowels and thematic composition, is examined in Chapter 5. The concluding chapter summarizes Duncan's concept of process and then gives a brief sketch of areas not covered in this study. Duncan's major subjects and sources are outlined, with possible approaches to a study of his subject matter being suggested. Finally, it is claimed that however his work is approached, the spiritual centre of Duncan's art emerges as primary. / Arts, Faculty of / English, Department of / Graduate

While deception and its artifices have been recognized as central to Browning's poetry, they have not been examined in his late works. The dominating concept in The Ring and the Book that falsehood is ubiquitous in human existence provides Browning with impetus for the next decade, as he attempts further to understand and dramatize both the means by which man obscures truth, and the circumstances, if any, under which man may act according to some sort of moral perception. Prince Hohenstiel-Schwangau presents a persona who manipulates point of view in order to mask his insecurity. His final realization that his political benevolence is an illusion leads not to salvation but to an impasse, since the truth he perceives is that all language is inevitably false, and therefore all arguments inevitably futile. Once he relinquishes deception, he is at the mercy of chance. Don Juan in Fifine at the Fair flaunts the artifices of language and mind overtly and deliberately. He apprehends both the elements of deception in all perceptual processes, and his dependence for knowledge on the misleading appearances of reality; consequently, he realizes a "histrionic truth" which is based on this realistic understanding of man's limitations and which enables him momentarily to reconcile the conflicting impulses of soul and flesh. In Red Cotton Night-Cap Country, Miranda's disastrous leap of faith is the result of his insufficient strength of intellect to perceive properly the function of religious symbol. All the characters in this story adhere to external signs, either symbols of belief or indications of social convention. Clara, the cousins and the clergy exploit the possibilities of deception, taking advantage of Miranda's impulsiveness and flawed perception. His death is rational in a perverse sense according to his circumstances and training, but his reasoning functions in terms of a naive literalism. He dies, a victim of the inept attempt of his fancy to merge the reality of illusion with the reality of physical fact. The Inn Album dramatizes the reaction of three people to the knowledge and discovery of falsehood. The Lord views deception as characterizing human morality and he exploits its possibilities to impose his cynical design on others. The Youth acts impulsively and naturally to destroy it, but he retains the same obtuse idealism at the end with which he admires the Lord at the beginning—he has swapped a master for a mistress. The Lady reacts with horror, trying to escape from falsehood and to purify its leprous touch—her suicide is a kind of martyrdom to the cause of tainted purity. The Lord's social artifices, epitomizing human pretentiousness and sophisticated behaviour, are contrasted with the spontaneous beauty and natural art of the landscape. Man's deceit outrages the civilization of the natural world. None of these poems offers the purely generous response of right against wrong; even good actions retain an element of selfishness. Browning does, however, allow the reader to judge his characters and his point of view which underlies each poem testifies to at least the possibility of abstracting and authenticating values from human experience. Much of the interest in these dramas of consciousness lies in the paradoxical ability of reason to perceive good or unselfishness while it simultaneously deceives itself. The refinement of intellect leads to the obscurity of earthly reality as well as to the apprehension of its essentially ambiguous nature. These poems are dramatic, unified and more intelligible than many critics have admitted. They undoubtedly emphasize the experience of the mind, but they are not devoid-of emotion. Juan's sense of the "histrionic truth" combines Browning's aesthetic with his metaphysic, and Browning as always locates intellectual questions within the labyrinths of personality. / Arts, Faculty of / English, Department of / Graduate

None. / Arts, Faculty of / Music, School of / Additional material: 1 video cassette (Koerner Library). / Graduate