Research Doctorate - Doctor of Philosophy (PhD) / The major purpose of the research in this thesis is to add to the available knowledge on advanced violin playing of the Romantic Period by, firstly, investigating the historical and technical knowledge and, secondly, adding some of my own findings. The project consists of a thesis, five recordings of live performances by the candidate and a guide to those performances. The development of violin techniques in the nineteenth and early twentieth centuries and the role of the instrument in expressing the musical ideals of the age were chosen to study because there is a general lack of literature on the subject written by players who have performed the music chosen by the researcher. Furthermore, studies of this literature have left some important questions unanswered. One such question concerned how the development of the violin allowed musicians to better express the music in that era. Another question is what kinds of techniques were developed and how they related to the expression of the music. The thesis includes a study of the historical background of the Romantic period, as well as instrument development in this period. Analyses are made of the music considering techniques only where they are new techniques which considers the expressive reasons lying behind the new styles of writing. Treatises, violin methods, as well as modern studies are examined and compared in order to determine the development of violin techniques specifically in the period. This study is an investigation of both the written literature and the experiences of playing Romantic violin pieces in five concert situations, conducted over a time span of four years. The first concert presented a programme of German composer Robert Schumann’s Violin Sonata No. 1 in A minor Op. 105; with French composer Camille Saint-Saёns’ Havanaise Op. 83; and also Fritz Kreisler-‘Pugnani’s’ Praeludium und Allegro. The second concert presented a programme of Schubert’s Sonata in A major Op. 162 and Prokofiev’s Sonata No. 2 in D major Op. 94a. The third concert presented a programme of Brahms’ Sonata No. 3 in D minor Op. 108 with Tchaikovsky’s Three Pieces Op. 42. It also included Ravel’s Tzigane. The fourth concert programme presented Beethoven’s Piano Trio No. 1 in D major Op. 70, commonly called “The Ghost”. The fifth concert presented a programme of Brahms’ Sonata No. 1 in G major Op. 78 and also the Sonata No. 2 in A major Op. 100. In addition his Sonatensatz (Scherzo) in C minor was performed. For each of these concerts, the researcher made written reports detailing the reasons behind the choice of each piece, the place of the piece in the context of the research and an examination of the effectiveness of the concert recital programme. The reports included notes on the mastery of the different new violin techniques required to play the piece with an historic awareness. As evidence of this, each concert was recorded onto compact disc audio format. The reports were used as a basis for the accompanying Guide to Performance. This is a work of critical analysis and aims to give a record of the progress of the research through performance. It documents the gradual discovery of how the historical theory can be realised in practice and provides a rationale for the techniques and strategies adopted in the creative component. The appendices include lists of repertoire and composers of the period, a chart of significant events from the period relating to the violin, and a chart of some of the key genealogical relationships in violin pedagogy. The investigation of violin techniques of Romanticism produced a number of major results. One important finding suggests that there are solutions to the difficult technical passages, which require an understanding of the historical context and literary background. In summary, this research produced findings which are of significance to violin educators and advanced violin students.

The purpose of this thesis is to show the development of the trombone, in form and music, and its use in the orchestra through the times of Beethoven and Schubert. Since very little material has been presented concerning the history of the trombone, it is hoped that the illustrations and explanations contained herein will be a contribution toward a representation of music from different composers and periods. The music covered gives a picture of the use of the trombone from the Renaissance through to the beginning of the Romantic Period. The results of this study are presented in three main sections: (1) The history of the trombone in the Renaissance; (2) The history of the trombone in the Baroque; (3) The history of the trombone in the Classical Period, and up to the time of Schubert.

Mary Wollstonecraft’s ghost haunts women’s writing of the Romantic period. After her untimely death in 1797, and the publication of William Godwin’s candid biography in 1798, Wollstonecraft’s reputation was besmirched by the reactionary press in an attack on radical support for revolutionary ideals. Wollstonecraft’s campaign for women’s rights was conflated with a representation of her as sexually promiscuous, politically dangerous and religiously unorthodox. For women writing after Wollstonecraft’s death, an engagement with her political ideals risked identification with her lifestyle, deemed both improper and impious. My thesis explores how women writers negotiated Wollstonecraft’s scandalous reputation in order to discuss her influential feminist arguments and develop their own positions on these pressing issues in post-revolutionary Britain. In the early nineteenth century, Wollstonecraft’s life and work gets elided with the figure of the female philosopher, already popular in both pro- and counter-revolutionary writing of the 1790s. After Wollstonecraft’s death, fictional female philosophers echo elements of her biography whilst voicing an often caricatured version of her arguments. By rejecting these satirically overblown feminist positions, women writers could adopt a more moderate form of feminism, often closer to Wollstonecraft’s original polemic, to critique cultural restrictions on women, revealing how these warp female behaviour. My project modifies our understanding of the origins of modern feminism by focussing on Wollstonecraft’s reception across a range of socially and politically diverse texts, and the ways in which the process of reading itself is treated as potentially revolutionary.

Feeling forgotten charts a shift in late eighteenth- and early nineteenth-century English literature that is structured on a crisis of memory. This shift consists in a movement towards a literary construction of aesthetic and moral self-forgetfulness that draws its intense power from an anxiety about human mortality and historical forgetting. Through analyses of texts that depict the need to overcome individual and cultural loss through a desire for oblivion, Feeling forgotten contends that the Romantic period gave birth to anti-mnemonic aesthetic in which the displacement of a perceived loss of the feeling of lived memories into various literary fictions preserves the past in such a way as to answer an unavoidable loss of feeling by asserting that the past, one's own and others, can be felt (again) in the complex affective experience found in reading about the past. In a more ambitious sense, Feeling forgotten attempts to point the way towards an understanding of Romantic and post-Romantic nostalgia as a strong rejection of its melancholic forbearers and as a response to late eighteenth- and early nineteenth-century self-forgetting. Indeed, the rejection of this more complex Romantic form of nostalgia, one in which the always frustrated attempt to inscribe forgetfulness itself into the text of memory is productive of the ongoing act of writing, would become the founding principle for later forms of nostalgia that seek to render forgetting as an act that resides outside the written text. Based on a reorientation of Charlotte Smith's poetic archive of feelings, which defines feeling as the failure of poetry to contain and defuse feelings themselves, and the passionate rationalism of William Godwin's early nineteenth century texts, in which self-analysis serves as both the generator and corruptor of the sympathetic feelings found in sentimental literature, Walter Scott's passive, amnesiac romances stage the fantasy of an evasion from the political and material significance of history. / text

The object of the research is Austen’s and Fielding’s situation of writing a novel through their works Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding. Though, these women authors are representatives of the two different epochs of English literature their novels are frequently taken in parallel. In order to carry out the research, the comparative and feminist criticism methods were applied. The comparative methodology was useful in order to analyze the meanings of similarity or distinction in the novels Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding, also, to compare two different contexts for writing two novels. / Tyrimo objektas – Džeinės Austen ir Helenos Fielding romano rašymo situacija remiantis jų kūriniais: Austen Puikybė ir prietarai bei Fielding Bridžitos Džouns dienoraštis. Nors autorės yra skirtingų laikotarpių anglų rašytojos, jų kūriniai yra dažnai lyginami.Bakalauro darbe buvo naudojami lyginamosios bei feministinės kritikos metodai. Lyginamasis metodas buvo taikomas ištirti romanų Puikybė ir prietarai ir Bridžitos Džouns dienoraštis panašumo ar savitumo reikšmes, palyginti kūrinių rašymo kontekstus. Kadangi Austen ir Fielding yra moterys rašytojos, feministinės kritikos metodas buvo naudojamas atskleisti moterų literatūros savitumą.

The thesis deals with a handwritten literary oeuvre by Francophone noblewoman Alexandra of Dietrichstein, born Shuvalov, which represents, by its extent, the unique case for the Bohemian lands. In what follows we interpret Princess Alexandra of Dietrichstein's political, religious, social and her literary opinions as well as her conception of sentiment and love on the basis of nine literary texts. Each of them represents a different genre there are short stories, novellas, novels and an educational treatise. Furthermore, her work originated within Francophone aristocratic culture in the Romantic period. Primarily, we focus on the development of the Francophone culture in Russia. Thanks to methods of cultural history and literary analysis of aesthetic norms we were able to demonstrate how her literary work developed over time in terms of ethics and aesthetics and point at the influence of the political and cultural changes in the period called in the Bohemian lands "in between times".

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Com foco na comédia O Juiz de Paz da roça, de Martins Pena, escrita durante o período romântico da Literatura, objetivamos mostrar a relação entre a representação da linguagem falada e a caracterização das personagens-tipo da peça. Personagens-tipo são aquelas que representam uma sociedade ou um grupo social normalmente presentes na literatura de ficção em geral. A fundamentação teórica constitui-se da Análise da Conversação, da Pragmática e da Sociolinguística Interacional. Partimos da hipótese de que, assim como a ação de modo geral das personagens na peça teatral, a linguagem falada exerce fundamental importância para a caracterização dessas personagens, tão comuns nas comédias de costumes e que teve em Martins Pena o seu precursor no Brasil. A construção de tipos sociais de personagens é possível graças à atenção que o autor atribui à representação da modalidade falada da época somada ao ambiente, em que vários tipos sociais interagem. Assim como as escolhas lexicais, as formas de tratamento entre outros elementos linguísticos caracterizam personagens-tipo, levando em consideração a significação das palavras e as várias relações entre locutores e interlocutores, tais como gênero, idade, grau de formalidade, respeito e intimidade no contexto da obra. Dessa forma, nesta dissertação, está presente uma análise dos papéis das personagens da peça por meio de um estudo de elementos não verbais e verbais, como o léxico, as formas de tratamento e aspectos fonológicos para revelar uma tipificação e hierarquização das personagens na peça escolhida para esse trabalho. / By focusing on the comedy O Juiz de Paz da roça, by Martins Pena, from the Romantic period of the Literature, we aim to present the relation between representation of the spoken language and the characterization of stock characters. Stock characters represent a society or a social group, which are presented in literary fiction in general. Based on the theoretical framework of Conversation Analysis, Pragmatics and Interactional Sociolinguistics, we start from the hypothesis that, just like actions in a play, spoken language plays a crucial role for the characterization of these characters, which are very common in the comedy of manners, which had Martins Pena as its precursor in Brazil. The construction of social types is possible because of the authors work of representing the spoken language at that specific time along with an environment where several stock characters interact. As well as lexical choices, forms of address and other linguistics elements feature the stock characters, taking into consideration the significance of the words and various relationships between the locutors and interlocutors, such as gender, age, degree of formality, politeness and intimacy in the context of the authors work. Thus, this dissertation presents an analysis of each characters role in the play, by analyzing non-verbal and verbal elements such as lexical forms, forms of address and phonological aspects in order to reveal how the typification and the hierarchy of the characters is constructed in the given play.

This dissertation argues that the British philosopher, novelist and social critic William Godwin (1756-1836) used literary depictions and discussions of book-reading to negotiate public debates about the nature of the human mind. It takes an intellectual-historical approach to Godwin's representation of communications media, using this to illuminate the wider cultural significance of book-reading in Romantic-period Britain. I ultimately claim that for Godwin, the book-object became a literary presence and a conceptual tool by which he expressed and defended his belief in the reality and necessity of intellectual perfectibility. My first three chapters set the groundwork for this argument by exploring Godwin's treatment of 'The Matter of the Reader' (Chapter One), 'The Ethics of Novel-Reading' (Chapter Two), and 'The Discipline of Reading' (Chapter Three). As Godwin engaged with debates about materialism, literary form and education, he negotiated inherited ambivalence about the nature of the human mind and the conditions necessary for its vitality. Godwin's writing about reading exposes a fundamental tension that runs throughout his corpus: he consistently invested confidence in the mind and idealised its operation, yet was simultaneously preoccupied by theorising major threats to its development. My final two chapters argue that Godwin's writing about the book as a material medium provided an ongoing response to this tension. I show that his comparative evaluations of 'Social Media' (Chapter Four) and his literary rendering of books in terms of 'Bodies and Monuments' (Chapter Five) were contributions to debates about the powers of truth, death, and cultural memory. I conclude that Godwin used the book-object as a gesture of faith in the necessary perfection of human minds. This dissertation remaps Godwin's contribution to British culture by drawing attention to the crucial role book-reading played in his philosophy, fiction, essays and correspondence. In doing so, it highlights a rich vein of enquiry opened up by the growing 'interdiscipline' of media history: the cultural figuration of books and reading.

Com foco na comédia O Juiz de Paz da roça, de Martins Pena, escrita durante o período romântico da Literatura, objetivamos mostrar a relação entre a representação da linguagem falada e a caracterização das personagens-tipo da peça. Personagens-tipo são aquelas que representam uma sociedade ou um grupo social normalmente presentes na literatura de ficção em geral. A fundamentação teórica constitui-se da Análise da Conversação, da Pragmática e da Sociolinguística Interacional. Partimos da hipótese de que, assim como a ação de modo geral das personagens na peça teatral, a linguagem falada exerce fundamental importância para a caracterização dessas personagens, tão comuns nas comédias de costumes e que teve em Martins Pena o seu precursor no Brasil. A construção de tipos sociais de personagens é possível graças à atenção que o autor atribui à representação da modalidade falada da época somada ao ambiente, em que vários tipos sociais interagem. Assim como as escolhas lexicais, as formas de tratamento entre outros elementos linguísticos caracterizam personagens-tipo, levando em consideração a significação das palavras e as várias relações entre locutores e interlocutores, tais como gênero, idade, grau de formalidade, respeito e intimidade no contexto da obra. Dessa forma, nesta dissertação, está presente uma análise dos papéis das personagens da peça por meio de um estudo de elementos não verbais e verbais, como o léxico, as formas de tratamento e aspectos fonológicos para revelar uma tipificação e hierarquização das personagens na peça escolhida para esse trabalho. / By focusing on the comedy O Juiz de Paz da roça, by Martins Pena, from the Romantic period of the Literature, we aim to present the relation between representation of the spoken language and the characterization of stock characters. Stock characters represent a society or a social group, which are presented in literary fiction in general. Based on the theoretical framework of Conversation Analysis, Pragmatics and Interactional Sociolinguistics, we start from the hypothesis that, just like actions in a play, spoken language plays a crucial role for the characterization of these characters, which are very common in the comedy of manners, which had Martins Pena as its precursor in Brazil. The construction of social types is possible because of the authors work of representing the spoken language at that specific time along with an environment where several stock characters interact. As well as lexical choices, forms of address and other linguistics elements feature the stock characters, taking into consideration the significance of the words and various relationships between the locutors and interlocutors, such as gender, age, degree of formality, politeness and intimacy in the context of the authors work. Thus, this dissertation presents an analysis of each characters role in the play, by analyzing non-verbal and verbal elements such as lexical forms, forms of address and phonological aspects in order to reveal how the typification and the hierarchy of the characters is constructed in the given play.