Thesis--Leiden. / Bibliography: p. [308]-312.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1934. / Typescript. Title from title screen (viewed May 9, 2006). Includes bibliographical references (leaves 284-290). Online version of the print original.

Thesis (Th. M.)--Calvin Theological Seminary, 2006. / Abstract. Includes bibliographical references (leaves 141-152).

Diss.--Philosophischen Fakultät--Universität Zürich, 1988. / Bibliogr. p. 417-424.

Diss.--Germanistik--Université libre de Bruxelles, 1992. / Bibliogr. p. 391-401.

Texte remanié de: Proefschrift--Letteren--Katholieke Universiteit Nijmegen, 2000. / Résumé en anglais. Bibliogr. p. 197-204. Index.

Thesis (Ph.D.)--Boston University / More attention is now being paid Samuel Johnson than at any time since the years immediately following his death. The object of this dissertation is to clarify his reputation as man and as writer through systematizaton of the majority of the almost two thousand studies written since 1887, the year that George Birkbeck Hill published his edition of Boswell's Life. The vitality of Johnson's reputation can be seen in many ways. The latter half of the eighteenth century has been called "The Age of Johnson." Critics have traditionally considered him a literary dictator, although it is now known that England has never had a man who could claim such absolute power over her letters. Homage has been paid him through the founding of clubs, the making of pilgrimages to sites associated with him, and the collecting of souvenirs. He has been compared and contrasted with diverse figures from history and fiction. Apocryphal stories have been told about him, and he has often been the subject of imaginary conversations, plays, and novels. Johnson has been made symbolic of the eighteenth century by many who think of the period as a time of peace and contentment. [TRUNCATED]

Thesis (Ph.D.)--Boston University. / Samuel Daniel has never been the subject of a thorough reputation study. I have, therefore, examined the body of critical opinion directed to Daniel's works from his own day to the present. I have drawn conclusions about his over-all reputation and the reputation of the individual works. In addition, I have drawn relevant conclusions concerning the critics themselves, particularly with respect to the bases of their literary judgment. Daniel's literary reputation fluctuates over the centuries. He was highly regarded by nearly all of his contemporaries, but his reputation waned during the seventeenth century until he became almost totally neglected in the eighteenth. Certain Romantic poets expressed more admiration for Daniel than had been expressed for two centuries. His reputation maintained a fairly steady, though unexciting, level throughout the nineteenth and early twentieth centuries. After 1920 Daniel gradually became the object of more intensive critical study. His reputation today is higher than at any time since his death and rests upon a more solid basis than ever before. [TRUNCATED]

No description available.

This thesis is concerned basically with the philosophical and aesthetic implications of the "yes or no" dialectic in Samuel Beckett's novels. While some aspects of this problem have been noted by critics (especially Richard Coe and Hugh Kenner), their full significance has not been elaborated. This thesis is especially indebted to Hugh Kenner’s provocative discussion of "art in a closed field" in Flaubert, Joyce and Beckett: The Stoic Comedians. But a new line of exploration is opened up by developing the notion of "art in a closed field" in conjunction with Kierkegaard's philosophy of either/or and Beckett's "yes or no." Such an approach allows for an awareness of the "existential " nature of Beckett's writings and helps emphasize the urgency of the emotional appeal of Beckett's characters as they make their "choices." A key question the thesis attempts continually to answer is: what are the nature and consequences of this "choice" made within the closed field of art and life? In Murphy the “yes or no" theme is dealt with in terms of the dualisms of Cartesianism and schizophrenia. (Note: Since the completion of my thesis, G.C. Barnard's Samuel Beckett: A New Approach which deals extensively with schizophrenia has appeared. He fails, however, to relate the psychological with the philosophical dimensions of Beckett's art and thought.). My own attempt to come to terms with Beckett is eclectic - but all discussions centre around the "yes or no" conundrum. A significant contribution to the study of Beckett's thought is, I believe, made in the discussion of Watt by indicating the relevancy of Kant and Hume to Beckett's philosophy of form - his aesthetics of the absurd. Beckett's indebtedness to Enlightenment thought, especially Descartes, has been recognized since Kenner's pioneer work. But the extended discussion of this debt in terms of Kant and Hume shows the complexity of this heritage as it influences Beckett's art. Tracing still further this intellectual tradition in the trilogy Molloy, Malone Dies, The Unnamable, it is possible to discern Beckett's Kierkegaardian-like parody of Hegelian rationalism and aesthetics. The philosophical underpining of Beckett's progressive treatment of the "yes or no" dialectic is thus made clearer. The discussion of How It Is in terms of the pornographic form illustrates how Beckett's relentless pursuit of his artistic premises' leads him to a unique philosophical treatment of what is usually regarded as a sub-literary genre. The conclusion, "No's Knife," deals briefly with some of the social and cultural implications of Beckett's art. This area of Beckett criticism is most weak and is often marred by an obvious failure to study in depth Beckett's work. It is hoped that this thesis helps in part to redress this failure in Beckett criticism. / Arts, Faculty of / English, Department of / Graduate