The sixteenth century brought increased English military occupation and settlement to Ireland. Members of the invading nobility, who consequently came into contact with the native culture, were seduced by the sound of the Irish harp and took the instrument from its roots in Gaelic society and placed it in the setting of European courtly music. My aim is to examine this process, the resulting developments which took place in the evolution of the Irish harp, and compositions associated with its usage in the 'art' music of England and the Continent. Particular reference is made to the 'Harpe' Consorts of William Lawes together with their sources and resulting implications when considering the capabilities of the instrument employed. The harp's role within this music is also analysed and a complete set of transcriptions of Lawes' consorts is included. Works by other musicians associated with the Irish harp during the period 1550-1650 are also discussed with specific reference to the compasses and accidentals of the instruments required by the composers where appropriate. Transcriptions of works attributed to Cormack MacDermott and the anonymous harp parts located at the back of Ch Ch Mus MS 5 are included. Martin Peerson's 'Mottects or Grave Chamber Music' and a collection of works for 'Treble Bass Viol and Harp', included in the back of the 1687 edition of Christopher Simpson's A Compendium of Practical Music are also discussed. A major part of the research involved the reconstruction of an Irish chromatic harp (presented as part of this thesis) capable of playing the music examined. An account of this is given in a report which looks at the decisions and processes involved, difficulties encountered, as well as some recommendations for future experimental directions.

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Thesis (Ph. D.)--Columbia University, 1936. / Vita. Published also without thesis note. Bibliography: p. [201]-203.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1956. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 131-136).

The education of John Stuart Mill was one of the most unusual ever planned or experienced. Beginning with his learning Greek at the age of three and continuing without a break of any kind to the age of fourteen, it constituted an almost total control of Mill's every waking activity, with the important exception of his visit to France at fourteen, until his appointment to the East India Company in 1823. It emphasized the "tabula rasa" theory, the effect of external circumstances on the developing mind, Hartley's Associationist theory, and the judicious use of the Utilitarian theories of the "pleasure-pain" principle. Conceived and carried out by Mill's father, James Mill, and his close friend, the Utilitarian philosopher Jeremy Bentham, the education was planned to develop John Stuart Mill as their disciple, reasoner, and advocate who would help the advance of the Utilitarian philosophy. Dependent on John Stuart Mill's native intelligence and docility, this carefully planned education was unusually successful, but it was successful at the price of Mill's emotional development. Mill's education was so much a part of his life that the development of his thought cannot be understood without some appreciation of its nature. A biographical approach is essential to an understanding of Mill. This is particularly true of the development of his poetic theory which itself was developed in a response to his efforts to integrate his views of poetry with his former philosophy. His interest in poetry derived from the time of his mental crisis in 1826, when he discovered that his preoccupation with the improvement of mankind did not provide him with the emotional satisfaction that his personal life demanded. Wordsworth's poetry, with its emphasis on the restorative powers of external nature, its sensitivity to human feelings, and its adherence to observed truths and quiet, contemplative moods, was so suited to Mill's temperament and situation that his reading it marked one of the great turning points in his life. After reading Wordsworth, Mill recovered his spirits, and not only recaptured his enjoyment of life, but also acquired a life-long devotion to poetry. Mill's poetic views were an outgrowth of his experience with Wordsworth's poetry and his desire to integrate all new ideas into his philosophy. Responding to Wordsworth's view that the feeling expressed in a poem gives importance to the action and situation, Mill placed his greatest emphasis on feeling as the essential characteristic of poetry. He agreed with Wordsworth that poetry is spontaneous, and that the thought in a poem is subordinate to the feeling. He explained the latter in terms of Hartley's Associationism. His lifelong concern for truth found its justification in his insistence that the object of poetry was to convey truthfully the feelings to which the poem gives expression. However, his poetic views were much narrower than Wordsworth's inasmuch as he neglected the imagination, and he excluded fiction from poetry in his unusual emphasis on identifying poetry with the lyric. In his efforts to integrate his poetic theory with his philosophical views, Mill followed Wordsworth's thinking that poetry is the opposite of science, and by emphasizing that the common purpose of science and poetry was their devotion to truth, Mill saw their unity in his conception of the complementary nature of their methods of conveying truth, the one by logic and the other by intuition. Mill's poetic theory tended to be narrow in the light of its overemphasis on feeling, its insistence on confining the word, poetry, to the lyric alone, and its relative devaluation of the imagination. Nevertheless, with its Wordsworthian overtones and its sense of purpose, it was essentially a Romantic theory. Its contention that the highest truths are intuitively known by the poet or artist underlined Mill's attempt to find a union of science and art in a devotion to truth. / Arts, Faculty of / English, Department of / Graduate

Thèse lettres Paris. / Réimpr. en facs. de l'éd. de Paris : H. Champion, 1927 BN.

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Diss.--Universität Mainz, 2003. / Bibliogr. p. 273-294. Index.

Syfte: Studien avser att undersöka studenters uppfattningar kring vilka behov som ligger bakom till varför studenter väljer att titta på reality-TV och hur de tolkar reality-TV som genre. Metod: Studien är en receptionsstudie med fokusgruppsintervjuer. Slutsatser: Denna studie bekräftar den föreställningen om att underhållning inom realitygenren uppfattas som enkel och lättsam TV. Resultatet från fokusgruppsundersökningen lyfter också fram reality-TV som något underhållande, utbildande och socialiserande att titta på. Reality-TV är enligt vår forskning tätt sammankopplat med en del moraliska frågetecken kring hur underhållning skapas och tittarnas tvivel kring hur verklig verkligheten egentligen är genom TV-rutan.