Texte remanié de: Th. doct.--Leiden, Pays-Bas--Universiteit Leiden, 2003. / Bibliogr. p. 225-239. Index.

Texte remanié de: Thesis Ph. D.--Michigan state university, 2004. / Notes bibliogr. Index.

Inaug.-Diss.--Bonn. / Added t.p., with thesis statement, inserted.

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (M.A.)--Trinity International University, Deerfield, Ill., 1999. / Abstract. Includes bibliographical references (leaves 126-131).

Mémoire (M.A.)--Université du Québec à Trois-Rivières, 2003. / Bibliogr.: f.[98]-105.

Version abrégée de: Thesis--Faculty of the department of philosophy--University Park--Pennsylvania state university, 1902? / Notes bibliogr.

Samuel Beckett has long been known as a philosophical author, who drew on philosophical work to create haunting images and intricate texts that are felt by later thinkers to express so well their own questioning of the foundations of Western thought. On the other hand, Beckett's own interests lay with philosophical writers of the 17th and 18th centuries. This thesis looks at the way Beckett infuses the tenets and metaphors of the 18th -century philosopher George Berkeley with new meanings that transform early modern theories into artistic works that continue to appeal to audiences and thinkers to this day. Research into Beckett's philosophical sources was an important subject from early Beckett criticism onwards. Significant early works include Ruby Cohn's "Philosophical Fragments in the Works of Samuel Beckett" (1964);1 John Fletcher's "Beckett and the Philosophers" (1965);2 and Edouard Morot-Sir, "Samuel Beckett and Cartesian Emblems" (1976).3 What is common to these essays and other research published at the time is the identification of Beckett's thinking with a Cartesian stance. The increasing amount of archive materials available to researchers, including letters, his personal notes, and the books left in his library after his death, has had a tremendous impact by showing that Descartes was...

Samuel Barber's Capricorn Concerto for flute, oboe and trumpet with strings is an important though seldom performed work. The concerto is teeming with performance choices that are indicative of both historical and contemporary influences. At present, there are limited resources available to performers regarding Capricorn. The first section of this study presents an historical and contextual examination of Capricorn both in terms of Barber's own compositional output and that of his influences and contemporaries. The second section includes a performance analysis of the work, while the third section includes an analysis of existing recordings. Implications for the performer are outlined in last section. The guide provides performers with pertinent background, analytical and performance information in order to facilitate informed, high-level performance.

Johnson was a rationalist in everything except religion, which, to him, was an adherence to the established Church with its traditional forms. His efforts to maintain his orthodox views in the midst of the controversial beliefs of his age will be the subject of subsequent chapters in this study.