Akademisk avhandling--Litteraturvetenskap--Uppsala, 1990. / Résumé en anglais.

Thesis (Ph. D.)--University of Pennsylvania, 1930. / "A chronological discussion of the sonnet in American literature, together with an anthology of representative American sonnets."--P. iii. "Bibliographies": p. 149-156.

The aim of this essay is to show how Shakespeare’s sonnets violated and reversed the conventional ideas in terms of beauty and idealisation. Furthermore, I will examine the way Shakespeare presented his beloved woman as an absolute opposite of the one created by Petrarch, and how he shifted all the divine metaphors from a woman to a fair young man, creating a new object of praise and admiration.

Thèse--Université de Paris. / Includes bibliographical references.

Thèse--Université de Paris. / Includes bibliographical references.

Thèse univ.--Paris--Lettres, 1928. / L'éd. ancienne a paru dans la "Bibliothèque de la Revue de littérature comparée" Bibliogr. p. 303-332. Index.

Thesis (Ph. D.)--Cornell University, 1897. / Bibliography: p. [207]-214.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Texte remanié de: Dissertation--D. Phil.--Fribourg, Switzerland--University of Fribourg, 2000. / Bibliogr. p. [312]-334.

Sonnets and Psalm investigates the relationships between the sacred nature of Psalm 91 and the secular nature of two sonnets, William Shakespeare's Sonnet 73 and Henry Howard, Earl of Surrey's Sonnet 8. Sonnets and Psalm exploits a dynamic that arises from the juxtaposition of disparate musical universes, choral and instrumental, and the unique and, at times, ineffable aesthetic qualities that emerge as a result of the intentional ordering of musical language and block structures. In a five movement form the listener is guided from vocal events painted on orchestral palettes, to solely instrumental movements, and back again. While the movements can stand independently of each other, there are ponderous transformations of material within and throughout the piece that create a thread that functions as a consistent generative unifying element. A recurrent utilization of motive, color, register, pitch-specific sonorities and gesture, enhances the unity of the work while exploiting the contradistinctive nature of each movement. Relational aspects of hidden and transformed materials from the Psalm and the sonnets (including the Mosaic movements) that are present throughout create a forward and back-relating dynamic. There is a programmatic element at work as well that in itself is a statement: after the sonnets and the mosaics, the listener is finally presented with the Psalm, a conclusion.