Thesis (M.A.)--Trinity Evangelical Divinity School, 2005. / Abstract. Includes bibliographical references (leaves 75-77).

Basically, a study of the structure of Laurence Sterne's Tristram Shandy involves an analysis of the point of view of both the author and the narrator, and hence of variations on the first-person narration that are found in this novel. Tristram Shandy is related wholly in the authorial and historical present, and the reader as well as the fictional characters is included in the narrator's discourses of Tristram's own world. Hence, one must apply a considerable degree of critical objectivity when examining the narrator's role in the novel. A second problem is the importance of the fictional world that Tristram is ostensibly concerned with – that is, his birth and upbringing within the social environment of Shandy Hall, because the process of Tristram's narration proceeds to usurp most of the novel, shouldering out events at Shandy Hall, which are left half-introduced, or unfinished, or barely hinted at, and we are left with a fairly complete portrait of Tristram Shandy, but not of his life at Shandy Hall. A third problem is that of the inherent structure of the novel, which necessarily is centered around the dominant, controlling voice of the narrator. Although this structures has been dismissed as chaotic or irregular or formless, it does possess definite patterns which allow for the addition of further units. As Tristram Shandy is basically an open-ended novel allowing for infinite expansion, its chronology and subject matter are designed to cohere only in terms of Tristram's entire life; thus we find the events and characters are remembered in the authorial present. The novel moves back and forth on different levels of the historical present, and besides setting out an accumulative amount of remembered biographical detail, presents a projected picture of the mind of an individual in the process of remembering and narrating. A close study of the associational links between chapters clearly reveals the above points, for significantly, these links are all easy to follow and accumulative in effect. The purpose of this thesis is to demonstrate how the structure of the novel proceeds from the dominant single point of view that Tristram represents, how the ostensible autobiographical subject matter is eventually subjugated to this personality in operation, and how the structure of the novel functions efficiently towards this end. Chapter I examines the Tristram persona and Chapter II the Yorick persona, in order to determine how they function in this first-persom narration, and to what combined effect. Chapter III on Shandy Hall examines the characters of the novel, exclusive of Tristram, with a view to motivational factors that may proceed from them and that impinge on his story. And Chapter IV examines the associational and chronological structure of the novel in terms of the actual patterns and linkages Sterne provided his segmentalized novel with, and draws a general conclusion from this study. / Arts, Faculty of / English, Department of / Graduate

Includes comprehensive bibliography the composer's works. Biographical notes and list of works -- The ladykillers: a suite for orchestra in three movements based on the music composed for the 1955 Ealing comedy -- Contours and densities at First Hill: fifteen landscapes for orchestra -- I am here, for soprano and tape -- Scenes from a life, for orchestra - one movement with three sections. Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not ben published commercially.

Includes comprehensive bibliography the composer's works. / 1v. of music : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not been published commercially. / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2001

No description available.

Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman, has been noted as an unconventional eighteenth-century novel and it has long been considered unadaptable and unfilmable. In the last decade, however, two popular adaptations of Tristram Shandy have appeared in new media forms: Martin Rowson’s 1996 graphic novel and Michael Winterbottom’s 2005 film. Since Sterne’s text denies the kind of transfer typical of literary adaptations, Rowson and Winterbottom adapt the conceptual elements. Through adaptation and media theory, this thesis defines the Shandean elements of Sterne’s novel and locates the qualities of the text retained in adaptation. Rowson and Winterbottom adapt the conceptual properties of Tristram Shandy, ‘the spirit of the text,’ into two distinct mediums. In an exploration of the conventions of each medium, this thesis argues that the adaptations of Tristram Shandy are true to its spirit, and both successfully adapt the unadaptable novel.

The eighteenth-century British novel derived its purpose, structure, and theory of characterization from the life-history, in the form of biography or autobiography. In eighteenth-century Britain both the novel and the life-history emerged in recognizably modern forms. Like the life-history, the novel maintained as its purpose the Horatian maxim that art should both instruct and entertain. Moreover, the novel and the life-history shared the same structure, as each novel purported to be the biography or autobiography of the title character of the work. Finally, the novel and the life-history adopted the same theories of characterization for the major as well as minor characters within the works.However, life-writing was at this time in a period of transition from the static to the dynamic theory of characterization. This transition came as a result of a significant change in the view of the source of personality. In the static life-history the central subject, as well as the minor figures, possessed an innate, unchanging personality. Thus when Plutarch wrote of Alexander or of Julius Caesar, these figures were depicted as men born to greatness. However, each was imperfect, possessing in the Aristotelian sense a tragic flaw. In the main this theory was significant because it placed no value on what was later to be considered so important in the development of personality-the individual's experiential life.In direct contrast to the static theory, the dynamic view of personality was the result of Cartesian and Lockean psychology which saw personality as the direct result of not the innate but instead the experiential processes. The experiences of the central character, rather than exemplifying innate qualities, now were seen as shaping and delineating that personality. The application of this new theory to both the modern novel and life-history produced a central character or characters growing according to the dynamic theory, though the minor characters remained "type" characters in accordance with the static theory.Therefore, the sources of the British eighteenth-century novel lay both in the dynamic biographies and autobiographies of the Restoration and Eighteenth Century and in the classical life-writers beginning with Plutarch and Josephus, as well. In this study the primary classical works analyzed are Josephus, the portrait of Herod in the Jewish Antiquities and his own in The Life; Plutarch's "Julius Caesar" and Suetonius' "Julius Caesar"; St. Augustine's Confessions; Dante's Vita Nuova; and the transitional Autobiography of Benvenuto Cellini. The adoption of the new dynamic theory is illustrated in two life-histories: Colley Cibber's Apology and Samuel Johnson's Life of Savage.The application of the dynamic theory to eighteenth-century autobiographical novels is exemplified by Samuel Richardson's Pamela and Tobias G. Smollett's Roderick Random. Though there was a complex psychological portrait of Richardson's Pamela Andrews, with a number of moral digressions, there were little character development and few digressions in Smollett's novel.A far more complex treatment of the theories of personality occurred in Laurence Sterne's Tristram Shandy. As narrator Tristram centered the work upon the four.crucial accidents that had formed his personality, and on those other three dynamic characters who were connected with these misfortunes--the Shandy brothers and Parson Yorick. In contrast, minor characters such as Dr. Slop were drawn according to the static theory. The digressions within the work were encased within a comic-satiric framework. Thus the two theories of personality--static and dynamic--which informed eighteenth-century life-writing served also as the principal source for characterization in the eighteenth-century British autobiographical novel.

This thesis considers Laurence Sterne's Tristram Shandy in light of Friedrich Schlegel's concept of irony. Departing from previous criticism, which focuses on Sterne's playful narrative techniques, the discussion here elucidates other ways in which Tristram Shandy exemplifies the kind of irony Schlegel theorizes. These ways include: Sterne's "Mischgedicht" method, which amalgamates in a single work many types of style, or diverse permutations of form and content; the depiction of Parson Yorick, who epitomizes Socratic irony as Schlegel defines it in the 108th Lyceum fragment; Sterne's gentle satirizing of systematic thinkers, including his own narrator, Tristram; and Sterne's attitude toward words, knowledge, and reading. At the end of chapter 5, Sterne's irony is unraveled and reconstructed. This disentangling leads to a proposed refutation of recent interpretation of both Sterne and Schlegel. These studies see Sterne and Schlegel's irony as implying lack or flux of meaning. It is the strong contention of the following thesis that an essential aspect of Sterne and Schlegel's shared ironic world view is the continual, optimistic attempt to understand life, which necessarily presupposes a sincere and profound belief in both meaning and the reliable conveyance of it. (Abstract shortened by UMI.)

Thesis (D.Mus.) -- University of Adelaide, Elder School of Music, 2001. / Includes comprehensive bibliography the composer's works.

Thesis (Ph.D.)--Duquesne University, 2006. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 364-379) and index.