L'objet de cette thèse est l'étude de certaines propriétés analytiques et asymptotiques des processus de Markov, et de leurs applications à la méthode de Stein. Le point de vue considéré consiste à déployer des inégalités fonctionnelles pour majorer la distance entre lois de probabilité. La première partie porte sur l'étude asymptotique de processus de Markov inhomogènes en temps via des inégalités de type Poincaré, établies par l'analyse spectrale fine de l'opérateur de transition. On se place d'abord dans le cadre du théorème central limite, qui affirme que la somme renormalisée de variables aléatoires converge vers la mesure gaussienne, et l'étude est consacrée à l'obtention d'une borne à la Berry-Esseen permettant de quantifier cette convergence. La distance choisie est une quantité naturelle et encore non étudiée dans ce cadre, la distance du chi-2, complétant ainsi la littérature relative à d'autres distances (Kolmogorov, variation totale, Wasserstein). Toujours dans le contexte non-homogène, on s'intéresse ensuite à un processus peu mélangeant relié à un algorithme stochastique de recherche de médiane. Ce processus évolue par sauts de deux types (droite ou gauche), dont la taille et l'intensité dépendent du temps. Une majoration de la distance de Wasserstein d'ordre 1 entre la loi du processus et la mesure gaussienne est établie dans le cas où celle-ci est invariante sous la dynamique considérée, et étendue à des exemples où seule la normalité asymptotique est vérifiée. La seconde partie s'attache à l'étude des entrelacements entre processus de Markov (homogènes) et gradients, qu'on peut interpréter comme un raffinement du critère de Bakry-Emery, et leur application à la méthode de Stein, qui est un ensemble de techniques permettant de majorer la distance entre deux mesures de probabilité. On prouve l'existence de relations d'entrelacement du second ordre pour les processus de naissance-mort, allant ainsi plus loin que les relations du premier ordre connues. Ces relations sont mises à profit pour construire une méthode originale et universelle d'évaluation des facteurs de Stein relatifs aux mesures de probabilité discrètes, qui forment une composante essentielle de la méthode de Stein-Chen. / The object of this thesis is the study of some analytical and asymptotic properties of Markov processes, and their applications to Stein's method. The point of view consists in the development of functional inequalities in order to obtain upper-bounds on the distance between probability distributions. The first part is devoted to the asymptotic study of time-inhomogeneous Markov processes through Poincaré-like inequalities, established by precise estimates on the spectrum of the transition operator. The first investigation takes place within the framework of the Central Limit Theorem, which states the convergence of the renormalized sum of random variables towards the normal distribution. It results in the statement of a Berry-Esseen bound allowing to quantify this convergence with respect to the chi-2 distance, a natural quantity which had not been investigated in this setting. It therefore extends similar results relative to other distances (Kolmogorov, total variation, Wasserstein). Keeping with the non-homogeneous framework, we consider a weakly mixing process linked to a stochastic algorithm for median approximation. This process evolves by jumps of two sorts (to the right or to the left) with time-dependent size and intensity. An upper-bound on the Wasserstein distance of order 1 between the marginal distribution of the process and the normal distribution is provided when the latter is invariant under the dynamic, and extended to examples where only the asymptotic normality stands. The second part concerns intertwining relations between (homogeneous) Markov processes and gradients, which can be seen as refinment of the Bakry-Emery criterion, and their application to Stein's method, a collection of techniques to estimate the distance between two probability distributions. Second order intertwinings for birth-death processes are stated, going one step further than the existing first order relations. These relations are then exploited to construct an original and universal method of evaluation of discrete Stein's factors, a key component of Stein-Chen's method.

[pt] Esta pesquisa reflete sobre a questão do fundamento - onto-teológico-político - do Estado em Edith Stein na contemporaneidade, sob a perspectiva da teologia latino-americana. Partindo do método fenomenológico-historiobiográfico, optamos por realizar uma pesquisa qualitativa de caráter bibliográfico, que reuniu a história pessoal e os escritos de Edith Stein, em diálogo com seus mestres e estudos histórico-críticos do Estado na contemporaneidade. Para tanto, ordenamos, comparamos e examinamos, com recurso à poética sertaneja. Para Edith Stein, a pessoa humana - o eu consciente e livre - é composta por um corpo vivente [Leibgestalt], uma psique [Seele] e um espírito [Geist]. No seio do mundo, o eu consciente e livre vive de modo particular, mas ligado a uma estrutura universal. Por meio do ato sui generis da entropatia [Einfuhlung], vivencia o eu, o tu - via de acesso ao ser eterno - e o nós. Na base do Estado, identificamos três modos de vida associativa: massa, sociedade [Gesellschaft] e comunidade [Gemeinschaft]. Na visão orgânica do Estado, deparamo-nos com os aspectos espiritual [soberania], psíquico [povo] e corpóreo [território], o que nos fez saber que o Estado necessita de um território do mesmo modo que a pessoa humana carece de um corpo para viver. Para fins do seu fundamento onto-teológico-político, o Estado reclama para si uma comunidade estatal, por ser o único modo de vida associativa capaz de abarcar a pessoa humana na sua totalidade existencial. Nos escritos de Edith Stein, a soberania - condicio sine qua non - está para o Estado assim como a liberdade está para a pessoa humana. Intersubjetivamente, a comunidade estatal insere-se na humanidade. Entropaticamente, a Igreja pretende ser a comunidade que abarca a comunidade estatal e toda a humanidade. / [en] This research reflects on the issue of the onto-theological-political foundation of the State in Edith Stein in contemporaneity, from the perspective of Latin American theology. Based on the phenomenological-historiobiographical method, we chose to conduct a qualitative bibliographical research that brought together Edith Stein s personal history and writings, in dialogue with her masters and historical-critical studies regarding the State in contemporaneity. For this purpose, we ordered, compared and examined, using poetry [poética sertaneja]. For Edith Stein, the human person - the conscious and free self - is composed of a living body [Leibgestalt], a psyche [Seele] and a spirit [Geist]. We exist in a particular way, but linked to a universal structure. Through the sui generis act of entropathy [Einfuhlung], you experience the self, the other - the access way to the eternal being - and the us. At the base of the State, we identify three associative ways of life: mass, society [Gesellschaft], and community [Gemeinschaft]. In the organic view of the State, we are faced with the following aspects: spiritual [sovereignty], psychic [people] and corporeal [territory], which made us know that the State needs a territory in the same way that the human person needs for itself a body to live. For the purposes of its onto-theological-political foundation, the State claims for itself a state community for having proved to be the only associative way of life capable of embracing the human person in its existential wholeness. In Edith Stein s writings, sovereignty - condicio sine qua non - is to the State as freedom is to the human person. Intersubjectively, the state community fits into humanity. Entropathically, the Church intends to be the community that embraces the state community and all humanity.

[pt] Ecologia integral é um assunto de relevância na Igreja atual para responder à problemática da crise socioecológica. Para contribuir ao tema, na presente pesquisa, relacionaram-se os conceitos Corporeidade, Criação e Trindade dentro dos resultados das análises fenomenológicas da pensadora alemã Edith Stein. A interdisciplinaridade, entre teologia e antropologia filosófica, serviu de base à questão-hipótese de pensar a ecologia integral quando conciliados os supracitados elementos; constituiu-se, assim, o principal objetivo no desenvolvimento desta dissertação. Inicialmente, apresentou-se o trajeto da autora ao conceito de pessoa humana – reflexo da Trindade –, resposta às afrontas à dignidade humana de seu tempo. No segundo momento da pesquisa, expôs-se o tema da corporeidade humana como unidade complexa de corpo-alma-espírito; tal tema desdobrou-se como o Corpo místico da Criação. O terceiro capítulo da pesquisa, tematizando a imagem da Trindade na Criação, apresentou a iluminação do Mistério trinitário à questão antropológica para uma ecologia integral. Também expôs o testemunho eloquente de Edith Stein sobre o diálogo inter-religioso entre judaísmo e cristianismo. Por fim, faz-se mister saber o método proposto à pesquisa: a revisão e o levantamento de dados a partir das obras steinianas, relacionando-os ao material fornecido pela teologia atual quanto ao tema. O seu resultado final: a urgente mudança da perspectiva antropocêntrica, sem abandonar a questão antropológica; o retorno à teologia da Criação para devolver à Trindade Seu lugar central na Criação, e destituir a arrogante compreensão humana como dominador de tudo; enfim, a conscientização da criatura humana – porque microcosmos – à nova relação com a Criação. / [fr] L écologie intégrale est un sujet important pour l Église d aujourd hui, pour offrir une réponse au problème de la crise socioécologique. Pour apporter de nouvelles contributions au thème, cette recherche veut faire le rapprochement entre les concepts Corporéité, Création et Trinité dans le cadre des analyses phénoménologiques de la penseuse allemande Edith Stein. L interdisciplinarité entre théologie et anthropologie a servi de base à la question-hypothèse de concevoir l écologie intégrale en corrélation avec ces élements. Ainsi, on a constitué le principal but du développement de cette dissertation. On a d abord identifié le parcours de l auteure vers l identification du concept de personne humaine – reflet de la Trinité – en tant que réponse aux attaques à la dignité humaine qui sont arrivés en son temps. Dans un second moment, on a présenté le thème de la corporéité humaine en sa condition d unité complexe corps-âmeesprit, débouchant sur la thématique du Corps mystique de Création. Le troisième chapitre aborde l image de la Trinité dans la Création, tout en présentant les éclaircissements que le Mystère trinitaire apporte à l anthropologie et à l écologie intégrale. On a exposé aussi le témoignage éloquent de dialogue entre judaïsme et christianisme proposé par Edith Stein. Enfin, on précise la méthode suivie par cette recherche, constitutée par un travail de révision et réunion des données issues des œuvres d Edith Stein, en les mettant en relation avec le matériel que la théologie actuelle a déjà produit sur le thème. Le résultat final c est le retour à la théologie de la Création pour rendre à la Trinité sa place centrale dans la Création, en détrônant une prétentieuse autorité de l homme sur celle-ci et dévoilant à la créature humaine son statut d unité microcosmique appelée à établir une nouvelle relation avec tout le créé.

The purpose of this study is to show transitions between verbal and visual meaning in ordinary language, based on philosophical concepts and conceptual artworks. It offers models for artistic research and collaboration in arts and science. Shared experiences in ordinary language are fundamental to this thesis and make it an accessible and trans-disciplinary study. Language as such, is approached from different practices and disciplines and becomes the central object of investigation. The research introduces a general set of mechanisms in language, stemming from the Wittgensteinian notion of the language-game. The study examines the possibility of a meeting between the philosopher Ludwig Wittgenstein and the writer Gertrude Stein in a linguistic, biographical and poetic sense. The main claim is that Wittgenstein and Stein share the understanding of language as a game, which is a fruitful principle for artistic and poetic production. Gertrude Stein developed a dimension in her writing which partly succeeds in showing this notion of creating meaning-as-practice and making sense on the ‘edge’ of conventional meaning. In this way she augments Wittgenstein’s idea of the language-game and puts it into practice, tests its limits on her own language and on the reader’s habits. The artistic works represented in this thesis are equally experimental tests of Wittgenstein’s meaning-as-use hypothesis. They put his ideas into practice. They extend the research with strategies from the arts, poetry and fiction. The methodology of the research is based on Wittgenstein’s notion of meaning as context-dependent use. This concept defines the meaning of a word by the way it is used in a specific context. This perspective is then challenged with visual artistic work. This hypothesis is tested throughout the research by applying tools and concepts from several practices, like computer linguistic tools, collaboration with writers and artists from other fields and autonomous visual and poetic work to augment the study of facts. Conceptual artworks, often produced in collaboration, function as language experiments, or language-games. The Wittgensteinian differentiation between what can be shown and what can be said is examined. The context of the research lies in the practices developed as a conceptual artist in which theoretical research informs artistic practice. This thesis, on the border between verbal and visual language, is founded upon antecedent studies in philosophy of language and the practice of Fine Arts. Against this background the research focuses on the relationship between word, context and meaning: issues of communication, ordinary language, words and their composition, context-based meaning, naming visual phenomena, examination of word-and-world-relationships and vocabularies. Main sources are the major works and biographies of Ludwig Wittgenstein, Gertrude Stein, the critical work of Marjorie Perloff, language philosophers concerned with ordinary language and the contrastive corpus linguistic approach. The results of this research are generated by several interdisciplinary productive methods. Artworks, poetic and scientific work, all of which employ modes of language, and whose their domains overlap. Additionally, the notion of meeting acts as model metaphor for the development of a solid trans-disciplinary methodology for research between science and the arts. One major result of comparing their ideas on language is reflected in the meeting of the language used by Wittgenstein and Stein. Their meeting is materialized in the computer generated Shared Vocabulary, which is a list of words which both Wittgenstein and Stein used in their writing. It applies linguistic tools from contrastive corpus linguistics to compare their vocabularies (corpora), which offers new methods for investigating the works of the philosopher Wittgenstein and writer Stein. Generally, this thesis may act as an introduction to language as ideal fundament for interdisciplinary study. The application of the principle of the language-game (Wittgenstein) is a significant of displaying possible strategies for artists and researchers who work transdisciplinarily. The research results directly inform practice and practitioners from other fields, which means that collaboration is central to the research. It implies that language permeates every sort of research, art and its discourse. It also suggests that the meaning of words and images depend on their use, which extends the Wittgensteinian meaning-as-use hypothesis to visual language. The findings of the research on vocabularies are quite specific, but they overlap with offering simple general mechanisms of the language-game. The consequent alliance of the discussion with the language of the everyday makes the research a general contribution to everyone who is genuinely interested in language and the arts.

From W.H. Auden’s The Age of Anxiety to Sigmund Freud’s Civilization and Its Discontents, modernists have frequently attested to the anxiety permeating members of modern civilisation. While critics have treated anxiety as a consequence of the historical circumstances of the modernist period—two World Wars and the disintegration of European empires—my aim is to view anxiety in both a psychoanalytical and political light and investigate modernist anxiety as a narrative ploy that diagnoses the modern condition. Defining modernist anxiety as feelings of fear and alienation that reveal the uncanny relation between self and ideological state apparatuses which themselves suffer from trauma, perversion, and neurosis—I focus on the works of four key modernist writers—Sigmund Freud, Virginia Woolf, E.M. Forster, and Gertrude Stein. These authors have repeatedly constructed the mind as an open system, making the psyche one of the sites most vulnerable to the power of colonial ideology but also the modernist space par excellence to narrate the building and falling of empire. While the first part of my dissertation investigates the neurosis of post-war London in Woolf’s Mrs. Dalloway, the second part of my thesis discusses the perverse demands of the colonial system in Forster’s A Passage to India and Woolf’s The Waves, arguing that Woolf and Forster extend Freud’s understanding of repetition compulsion by demonstrating that the colonial system derives a “perverse” pleasure from repeating its own impossible demands. The concluding section of my dissertation discusses Woolf and Stein’s queer primitivism as the antidote to anxiety and the transcendence of perversity. My dissertation revives Freud’s role in the modernist project: Freud not only provides avant-garde writers with a theory of consciousness, but his construction of the fragmented psyche—a construction which had come to dominate modernist renditions of internality by the early-twentieth century—functions as a political stratagem for an imperial critique. / Thesis (Ph.D, English) -- Queen's University, 2013-03-11 16:48:57.865

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-11-07T12:40:55Z No. of bitstreams: 1 DIS_PATRICIA_ESPINDOLA_DE_LIMA_TEIXEIRA_COMPLETO.pdf: 1198705 bytes, checksum: 2699020fb59215f933a417f64308b751 (MD5) / Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-11-07T12:41:13Z (GMT) No. of bitstreams: 1 DIS_PATRICIA_ESPINDOLA_DE_LIMA_TEIXEIRA_COMPLETO.pdf: 1198705 bytes, checksum: 2699020fb59215f933a417f64308b751 (MD5) / Made available in DSpace on 2017-11-07T12:41:23Z (GMT). No. of bitstreams: 1 DIS_PATRICIA_ESPINDOLA_DE_LIMA_TEIXEIRA_COMPLETO.pdf: 1198705 bytes, checksum: 2699020fb59215f933a417f64308b751 (MD5) Previous issue date: 2017-08-24 / A present research proposes to carry a dialogue between Education and Theology and to comprehend anthropology as a pedagogical guideline to form of the human person. In order to achieve this, it analyzes the bibliographic records of the German philosopher, Edith Stein (1891-1942), especially in her work "The Structure of the Human Person" - Der Aufbau der menschlichen Person. As Stein?s contributions to the educational field, they start from studies in phenomenology articulated with development on philosophical-theological anthropology. Edith Stein's work emphasizes the completeness of the person as bodypsyche- spirit. Emphasizing the importance of the philosopher's multidisciplinary personality, the text is part of a hybrid from the author?s both life and work, follows in its concept of formation and encounters with the sense of educating "from within", and completes with the analysis of the human person from the perspective of Christian revelation. Conclusively, Edith Stein points to the anthropological basis as the primacy to all formative activity, identifying totality, uniqueness and unrepeatability with which each person is constituted and invoked to a life of reciprocity with the other, through the empathic relationship. As a major formative sphere, Stein?s pedagogy emphasizes divine grace as the force that comes to meet human nature. / A presente pesquisa prop?e-se a realizar um di?logo entre Educa??o e Teologia, a fim de compreender a antropologia como diretriz pedag?gica para a forma??o da pessoa humana. Para isso, analisa os registros bibliogr?ficos da fil?sofa alem?, Edith Stein (1891-1942), sobretudo em sua obra ?A Estrutura da Pessoa Humana? - Der Aufbau der menschlichen Person. As contribui??es stenianas ao campo educativo partem dos estudos em fenomenologia articulados com a antropologia filos?fico-teol?gica que desenvolve. A obra de Edith Stein enfatiza a integralidade da pessoa como corpo-psique-esp?rito. Ressaltando a import?ncia da personalidade multidisciplinar da fil?sofa, o texto parte do h?brido vida e obra da autora, segue em sua concep??o de forma??o e de encontro com o sentido do gesto de educar ?desde dentro? e completa-se com a an?lise da pessoa humana sob a ?tica da revela??o crist?. Conclusivamente, Edith Stein aponta para a base antropol?gica como primazia de toda a atividade formativa, identificando a totalidade, a unicidade e a irrepetibilidade com que cada pessoa ? constitu?da e invocada a uma vida de reciprocidade com o outro, atrav?s da rela??o emp?tica. Como maior esfera formativa, a pedagogia steiniana ressalta a gra?a divina como for?a que vem ao encontro da natureza humana.

Made available in DSpace on 2016-04-28T20:56:45Z (GMT). No. of bitstreams: 1 Magna Celi Mendes da Rocha.pdf: 2418586 bytes, checksum: fca221f74ab58c158c7b31bd18495bef (MD5) Previous issue date: 2014-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This is a bibliographic research based on pedagogical writings from Edith Stein (Santa Teresa Benedita da Cruz / 1891-1942) which has dealt with the following objectives: to identify, to describe and to discuss the sense of graduation in the pedagogical work of Edith Stein; discussing about the spiritual graduation as a fundamental component in human formation; and to contribute, through human being vision and its formative journey when it comes to what we call full education. An extensive bibliographic production from the author includes philosophical writings, spiritual ones, pedagogical and also anthropological matters. Such pedagogical themes are a result of intense pedagogical activity during the period from the year 1923 until 1933, the year after its conversion to the Catholic Church and right before its admittance in Carmelo. In order to know its work it is necessary to comprehend its happenings through time and realize how it is oriented in position takings especially regarding its strong connection between human being conception and formation sense Stein develops. The formation concept is a key point in Edith Stein pedagogical work and it implies the following questions: What is the human being made of? which should be preceded from an answer about who is the human being? Accounting on the support of Husserl phenomenology, also through the Aristotelian-Thomistic and the catholic doctrine Stein runs through a philosophical path, also psychological, anthropological, pedagogical and theological one in order to clarify such issues getting to the point of conceiving human being as an indivisible unit of the body, psyche and spirit which has in itself a potential to be developed being able to become fulfilled or not. Stein also questions a type of education that does not take into consideration the entire human being but that is limited in the boundaries of providing a set of information aiming in reaching intellectual development. For Stein, authentic human formation graduated human being in a fulfilling way and conducts him to its full achievement in view of common well being because every person that develops in a balanced way contributes to the growth and development of the world as a whole / Esta é um pesquisa bibliográfica baseada nos escritos pedagógicos de Edith Stein (Santa Teresa Benedita da Cruz / 1891-1942) que teve os seguintes objetivos: identificar, descrever e discutir o sentido de formação na obra pedagógica de Edith Stein; discutir sobre a formação espiritual como componente fundamental na formação humana; e contribuir, através da visão de pessoa humana e seu itinerário formativo para o que hoje chamamos de educação integral. A vasta produção bibliográfica da autora inclui escritos filosóficos, espirituais, pedagógicos/antropológicos e autobiográficos. Para a realização desta tese utilizamos seus escritos autobiográficos e os escritos pedagógicos e antropológicos. Seus escritos pedagógicos são fruto de uma intensa atividade pedagógica, no espaço de tempo compreendido entre os anos de 1923 a 1933, ano posterior à sua conversão à Igreja Católica e anterior à sua entrada no Carmelo. Para conhecer sua obra torna-se indispensável tomar parte dos acontecimentos de seu tempo e perceber como estes vão orientando suas tomadas de posição, sobretudo na forte ligação entre a concepção de ser humano e o sentido de formação que Stein desenvolve. O conceito de formação é central na obra pedagógica de Edith Stein, que implica a pergunta como se forma o ser humano? , que deve ser precedida da resposta sobre quem é o ser humano? Apoiando-se na fenomenologia de Husserl, na visão aristotélico-tomista e na doutrina católica, Stein percorre um caminho filosófico, psicológico, antropológico, pedagógico e teológico para aclarar essas questões, chegando a conceber o ser humano como uma unidade indivisível de corpo, psique e espírito, que tem em si um potencial a desenvolver, podendo chegar à sua plena realização ou não. Stein questiona uma educação que não leve em consideração o ser humano completo, mas que se limite a fornecer um acúmulo de informações, visando apenas o desenvolvimento intelectual. Para Stein, uma formação humana autêntica forma o homem de modo integral e o conduz à plena realização de si mesmo, em vista do bem comum, pois cada pessoa que se desenvolve de maneira harmoniosa contribui para o crescimento e desenvolvimento do mundo como um todo

A key term in the cultural criticism of Walter Benjamin is his notion of "reception in distraction" as an antidote to ideology's domination over the mass society in the modern age. This dissertation attempts to illuminate this idea by offering case studies of three projects that summon into existence a new kind of reader, one capable of a trained apperception we may describe as "distracted."; One objective of the mass society according to a Frankfurt model of culture is the erasure of the subject; reception in distraction serves at once to create a space for the social dream and to re-inscribe the subject at the moment of reception through an insistence on its unruly, embodied presence. "Reception in Distraction" creates a cognitive space for disengagement from ideology, modeling what Michael Denning called the "dream work of the social." Critical theory is thus available to the mass public in the form of the "dream of history" that is solely accessible to a distracted apperception and whose subject is the faint possibility that the crisis of the present may be redeemed and repaired in the future. This project attempts to locate this dream of history in the autobiographical writings of Gertrude Stein, the detective fiction of Kenneth Fearing and the late silent cinema of Charlie Chaplin, each of which illustrates clearly the manner in which "distraction" functions to generate contradiction in the face of ideology's mass cultural form. Stein's experiments with the autobiographical form call for exactly this manner of reception, for which "Alice B. Toklas" becomes a key model. Similarly, Kenneth Fearing's Marxist detective novel The Big Clock and Modern Times , Charlie Chaplin's final silent film, reflect on the possibility of a productive reception-in-distraction that may co-opt the social forms of capitalism into a project of resistance and counter-discourse. "Distraction" is therefore more than merely an attitude of reception: it occasions a cognitive distance from ideology that is a key form of critical theory in the modern period.

A distinct feature of Brahms's compositional style is the cumulative development of melodic material that occurs throughout the composition. This motivic treatment appears in rhythmic and pitch fragments that are prolonged though various repetitions and newly derived figures related to earlier statements at the beginning of the composition. The compositional practices of Brahms as they relate to thematic unity reflect an earlier concept of the Grundgestalt, described in elements of nature by the 19th century philosopher, Johann Wolfgang von Goethe. The creative application of this concept by Brahms influenced the work of Arnold Schoenberg, who provided a more formal description as it relates to music and the compositional process. In this thesis, a relationship between Schoenberg's concept of the Grundgestalt and Brahms's compositional technique of motivic manipulations is explored. Movements from the First and Second Sonata for Clarinet and Piano by Brahms have been selected in order to observe his motivic treatment and the ways in which it permeates the composition. The motivic development that characterizes Brahms's style involves an initial motive with a distinct contour and intervallic content. The motive is manipulated with various techniques such as inversion, rhythmic variety and reordered segments that later transform into newly derived forms. An analysis of motivic material and the techniques that create a type of "developing variation" will be a significant focus of this thesis.

Doctor of Philosophy / This is a study of the composition of three Modernist first editions: Ulysses (1922), The Making of Americans (1925) and A Draft of XXX Cantos (1930). The bibliographical and figurative commitments made to being in print by Ulysses, A Draft of XXX Cantos and The Making of Americans set a coherent program for reading Modernist texts in their perfected form: in print. The editorial reception of the Modernist book has proceeded, however, with reference to the editorial and bibliographical principles established by the New Bibliographers. In deferring to the authors and manuscripts of Modernist books as the highest source of textual authority, the vital significance of being in print to literary Modernism is obscured. The figure of the ideal Book concentrates the central aesthetic, intellectual and bibliographic problem posed the Modernist book: the making of literature. The rhyme with The Making of Americans is appropriate: this book intensifies and consolidates the propositions made about objective and autonomous composition made more hesitantly by Ulysses and A Draft of XXX Cantos. These three books display a gradual refusal to equate inscription and intention; their composition effaces all traces of a sovereign creative subjectivity. The vision of the book guides Modernist composition, and requires a critical distinction be drawn between manuscripts and printed letters. Modernism must be read in print. The vestigial nostalgia for Romantic modes of textual production and creation in Ulysses is repeated on the placards and proof-pages for the book. Printed drafts are revised and reformed by the pen of the author. The finality asserted by the printed letter is only reluctantly ceded on the publication of Ulysses. The composition of A Draft of XXX Cantos represents a further transition away from the script economy of Romanticism. The interplay between authorial typescripts, early publications and the first edition of A Draft of XXX Cantos assert an intermediate order of Modernist textuality which takes the printed page as its foundation. The Making of Americans relies on the absolute objectivity and anonymity of its composition for the effect of its narrative. Objectivity is the intellectual and aesthetic strategy which produces literature rather than the personality and memory of the author. The impersonality of the apparently automatically written manuscripts and scarcely revised typescripts for The Making of Americans severs the visible links between the writing author and her page. In their unwillingness to corroborate the modes of textual generation described by the New Bibliographers, these three books thematise their own composition as the exemplary Modernist and modern mode of textual generation. The Modernist book attenuates or denies a Romantic connection between the creative hand of the author and the surface image of the page: the mechanisms of print deliberately detach the author from the literary text. The distance of the author from the scene of textual reproduction is measured by the printed book. The composition of this analytical object is not a fallacy but an actuality, commemorated in the archive, enacted by the book. Modernism is the literature of the imprimatur rather than of authorial inscription and accordingly it is towards the first editions of Modernist texts that the attentions of editors and textual scholars must be directed.