Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Jeffrey Muller. Includes bibliographical references (leaves 441-491).

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 236-241). Also available for download via the World Wide Web; free to University of Oregon users.

published_or_final_version / Buddhist Studies / Master / Master of Buddhist Studies

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This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes. Bolstered by new scientific discoveries that legitimized the existence of unseen realms, and intrigued by the idea of the fourth dimension as infinite higher space, Cubists such as Metzinger responded to Maeterlinck’s highly popular 1908 play L’Oiseau bleu, finding there an analogy to the Cubist quest for higher realities. Despite Maeterlinck’s popularity in the nineteenth and early twentieth centuries, he has been largely ignored, especially with regard to twentieth-century art. By examining the responses of artists and contemporary critics to Maeterlinck, as well as the intersection of his theories with the larger cultural context, this thesis aims to bring Maeterlinck back into focus. / text

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The study and contemplation of the natural world was a significant impetus for the stylistic development of Maurice Ohana's (1913-1992) music. More than any other source, it was the sounds, textures, and patterns of the natural world that served as his compositional model, inspiring a unique approach to form and sound. Using the metaphor of a coral reef, Ohana sought to imbue his compositions with a process of development that organically generated musical form. His mature musical style is defined by an organic development of traits inherent within the motivic beginning of a work to produce unique musical structures that are intrinsically connected with their musical substance. Ohana's final work for piano solo, the Études d'interprétation (1983/6), demonstrate the process of organic development. Complementing Claude Debussy's (1862-1918) Études, Ohana's interval etudes 'Secondes,' 'Quintes,' 'Septiemes,' and 'Neuvièmes' illustrate the stylistic variety generated by his unique, sound-driven approach to form. The following analyses address the thematic development of each work, connecting melodic, harmonic, and textural material to the opening, and developmentally central, `germ' each composition begins with. By examining the comprehensive process of organic development within Ohana's four interval etudes it may be possible to gain a greater understanding of his unique musical language

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Anthony Vidler's recent monograph on the eighteenth-century French architect Claude-Nicolas Ledoux (1736-1806) characterizes certain aspects of Ledoux's work as Masonic. Vidler defines Freemasonry primarily as an instrument of sociability. His recognition of Masonic imagery and intent, especially in Ledoux's Ideal City, combines with certain details of Ledoux's life to convince Vidler of Ledoux's adherence to a Masonic or quasi-Masonic lodge. / The matter remains open to debate. Vidler's view of Freemasonry does not entirely accord with its factious and ambitious condition in eighteenth-century France. Nor does he sufficiently address the public manifestation of Masonic symbolism which, despite the Order's code of secrecy, was divulged to the profane, emerging architecturally as part of Neoclassicism's stylistic revival of the antique. The weakness of Vidler's analysis becomes apparent when he overlooks Masonic symbolism in a project that does not conform to his positive image of the Order: Ledoux's network of customs houses for Paris, the project he called the Propylaea.