Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1978. / Made available in DSpace on 2013-12-05T19:00:30Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T13:24:24Z : No. of bitstreams: 1 321743.pdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)

As a background figure in the Pre-Raphaelite movement, William Bell Scott suffers from an unattractive reputation largely because of attitudes expressed in his Autobiographical Notes. Chapter One of this thesis examines his life and work, but although a chronological approach is used, it is Scott's wide range of activities and friends which is given prominence. In Chapter Two, Scott's Autobiographical Notes is considered. Scott's lifelong interest in journal writing is traced as much as is possible, using manuscript material in the Penkill Papers at the University of British Columbia. The chapter then covers the actual editing of the Notes by William Minto, making the point that even before his book was published Scott's potential readers were prejudging the work. Manuscripts in the Penkill Collection provide the Material for these disclosures. The three parts of the third Chapter are concerned with the shaping of Scott's reputation through prejudice and hearsay. The "Rossetti Legend," as it existed while Scott was writing his Notes and until the time of their publication, occupies the first part of the chapter. Next, the controversy which developed after his book met public view is examined. Finally, Scott's reputation is traced over the eighty years since the publication of his autobiography. The final chapter opens with a survey of Scott's relationship with Dante Gabriel Rossetti. Most of the attacks made on Scott's Notes were prompted by his treatment of Rossetti. The survey suggests that Scott was both as friendly and as useful to Rossetti as he claims to have been. The second and longer part of the chapter deals with charges made against Scott by William Michael Rossetti in the Memoir volume of his Family Letters. Information in the Penkill Papers proves on one hand that Scott did not fabricate anecdotes, and that he kept back much information which would have been of interest. On the other hand, this material makes it obvious that William Michael Rossetti, the authority of whose book rests on his filial relationship, did not tell the entire truth about his brother. Scott's Autobiographical Notes, then, should be seriously re-examined as a reference work on Rossetti and the Pre-Raphaelites. / Arts, Faculty of / English, Department of / Graduate

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This study of thirty representative short stories from 1912-1941 demonstrates the stages of growth in Fitzgerald's writing which emerged from his own mental development, focusing upon his changing attitudes toward women as he reflects these attitudes in his depictions of the dominant female figures in the stories. The above chronology is then divided into four major blocks; in each block the dominant female illustrates Fitzgerald's concept of women at that particular stage of his life, The stories prove to be integral to the whole of Fitzgerald's writing and deserve to be judged independently of the novels. Furthermore, through an examination of Fitzgerald's short stories, the growth periods and the natural course of his changing attitudes become all the more clear and incisive.

John Macrone (1809-1837) was a Scotsman who arrived in London around 1830 and became a publisher, in partnership with James Cochrane between January 1833 and August 1834, and independently between October 1834 and his death in September 1837. A friend of Dickens and Thackeray, he published Sketches by Boz and, posthumously, The Paris Sketch Book. One of his other projects was a life of Scott, which he began to write soon after the death of the novelist; but his book, chiefly remembered because Hogg wrote his Anecdotes of Scott for inclusion in it, fell under the displeasure of Lockhart, and was cancelled shortly before it was to have been published. A fragmentary manuscript, however, was recently discovered by the author of this thesis and has now been edited for the first time, together with a biographical study of Macrone, in which extensive use is made of previously unpublished and uncollected material.

We develop a theory of higher-order exact real number computation based on Scott domain theory. Our main object of investigation is a higher-order functional programming language, Real PCF, which is an extension of PCF with a data type for real numbers and constants for primitive real functions. Real PCF has both operational and denotational semantics, related by a computational adequacy property. In the standard interpretation of Real PCF, types are interpreted as continuous Scott domains. We refer to the domains in the universe of discourse of Real PCF induced by the standard interpretation of types as the real numbers type hierarchy. Sequences are functions defined on natural numbers, and predicates are truth-valued functions. Thus, in the real numbers types hierarchy we have real numbers, functions between real numbers, predicates defined on real numbers, sequences of real numbers, sequences of sequences of real numbers, sequences of functions, functionals mapping sequences to numbers (such as limiting operators), functionals mapping functions to numbers (such as integration and supremum operators), functionals mapping predicates to truth-values (such as existential and universal quantification operators), and so on. As it is well-known, the notion of computability on a domain depends on the choice of an effective presentation. We say that an effective presentation of the real numbers type hierarchy is sound if all Real PCF definable elements and functions are computable with respect to it. The idea is that Real PCF has an effective operational semantics, and therefore the definable elements and functions should be regarded as concretely computable. We then show that there is a unique sound effective presentation of the real numbers type hierarchy, up to equivalence with respect to the induced notion of computability. We can thus say that there is an absolute notion of computability for the real numbers type hierarchy. All computable elements and all computable first-order functions in the real numbers type hierarchy are Real PCF definable. However, as it is the case for PCF, some higher-order computable functions, including an existential quantifier, fail to be definable. If a constant for the existential quantifier (or, equivalently, a computable supremum operator) is added, the computational adequacy property remains true, and Real PCF becomes a computationally complete programming language, in the sense that all computable functions of all orders become definable. We introduce induction principles and recursion schemes for the real numbers domain, which are formally similar to the so-called Peano axioms for natural numbers. These principles and schemes abstractly characterize the real numbers domain up to isomorphism, in the same way as the so-called Peano axioms for natural numbers characterize the natural numbers. On the practical side, they allow us to derive recursive definitions of real functions, which immediately give rise to correct Real PCF programs (by an application of computational adequacy). Also, these principles form the core of the proof of absoluteness of the standard effective presentation of the real numbers type hierarchy, and of the proof of computational completeness of Real PCF. Finally, results on integration in Real PCF consisting of joint work with Abbas Edalat are included.

The aim of this thesis is to elucidate the relationship between the picturesque and the emergence of British national identity. It explores Scottish travel writings from the 1770s to the early nineteenth century, in order to examine the ways in which tourists employ the discourse of the picturesque to imagine the British nation. The introduction sets out the questions this thesis attempts to address and defines the scope of discussion. It also outlines the general arguments surrounding the picturesque and specifies the way in which picturesque descriptions of Scotland during the period will be approached. Chapter One examines the writings of early tourists to Scotland such as Thomas Pennant, Samuel Johnson and William Gilpin. Scotland's association with Jacobitism prevents Pennant and Johnson from perceiving the region as an integral part of the British nation and also prevents them from appreciating the natural beauty of Scotland. This chapter shows how Gilpin assimilates Scotland's historical distinctiveness to his idea of picturesque beauty. Chapter Two surveys the description of landscape by tourists who are particularly interested in the economic improvement of Scotland. The 1770s and 1780s in Scotland are marked by various endeavours to assimilate the region to the system of capitalist economy. The main interest of this chapter lies in the correspondence between picturesque discourse and contemporary economic discourse, and its attempt to elucidate the ways in which the picturesque helps the development of commercial society to appear as a natural process. Chapter Three investigates the relationship between women's taste for the picturesque and their sense of citizenship. In particular, it focusses on Dorothy Wordsworth's Recollections of a Tour Made in Scotland. The Recollections demonstrates how Dorothy appropriates the picturesque to define her identity, and suggests that the equivocal quality of women's picturesque language in some ways corresponds to their ambivalent status in modem commercial society. Chapter Four concludes this inquiry into the picturesque's nation-projecting function by an examination of Walter Scott's idea of the picturesque. His first novel, Waverley, shows how he employs the picturesque to articulate his historical sense of Britishness. This chapter illustrates how Scott uses his literary fictions to propagate a picturesque image of the British nation among the general public.

As editor of the ballad collection Minstrelsy of the Scottish Border (1802-3), Walter Scott sought to salvage and preserve the cultural memory of the Border region, rescuing “popular superstitions, and legendary history, which, if not now collected, must soon have been totally forgotten” (MSB 1802; 1: cix). Scott’s endeavour was inspired by the movement towards cultural nationalism, which in Scotland, as in a wider European context, saw interest in traditional material reinvigorated by a widespread zeal to recover, polish and publish ‘relics’ of localised, oral culture perceived to be threatened by the rapid march of modernity. This thesis is a study on the theme of memory in the Minstrelsy. Under examination are the personal and cultural memories from which Scott synthesised his seminal ballad collection, as well as the internal memorial dynamics of the Minstrelsy itself. The social, material and mental dimensions of Posner’s semiotic model of culture (Posner 1991), may also be seen to constitute the three main components of the term ‘cultural memory’, a metaphor for the memorial symbols and practices through which social groups define and maintain their cultural identity. A recent definition of the term interprets cultural memory as “the sum of all processes […] which are involved in the interplay of past and present within sociocultural contexts” (Erll 2011: 101). The Minstrelsy is a composite text in which ballad versions gathered from a range of oral and written sources are framed by Scott’s editorial commentary. This convergence of media means that the collection itself may be understood as a memorial, or ‘site of memory’ which symbolises a particular version of the past (Nora 1989). Through the editorial commentary, Scott was able to negotiate the transmission of cultural knowledge concerning the past of the Borders as well as the wider Scottish nation. The aims of this research are twofold. The first is to achieve a deeper understanding of the cultural contexts surrounding the creation of the Minstrelsy. The second is to contribute to the swiftly developing area of cultural memory studies through a focus on the editorial interpretation of oral tradition in the case of this canonical ballad collection. To this end, memoirs, correspondence and ballad manuscripts are drawn upon to investigate the layered memory culture of traditional songs, narratives, images and places through which Scott sifted during the compilation of the collection. The thesis is structured to represent a gradual widening in scope from the personal to the collective, throughout which it is argued that Scott’s editing of the Minstrelsy may be aligned with a mediated memorial practice that actively shapes the identity of the culture which he as editor sought to preserve.