The connection of music and verse evident in the work of American poet, Carl Sandburg, is a topic that has received inadequate attention. Much preexisting research has focused on Sandburg's work with The American Songbag anthology; however little has been written about music composers' settings of his verse. The relevance of Sandburg's work as a poet has faded in today's society; the rural prairie subject matter and his poetic style are deemed archaic in an ever-evolving mechanistic society. Philip Wharton, a native of Sandburg's Midwest prairie, composes to create an evocative and image-laden world for the hearers of his music. This is what creates a semblance between both artists' works. This paper makes a connection between the work of the 20th century prairie poet and a current, 21st century American composer's musical setting of Sandburg's verse. Both artists are connected not only geographically, but also in their approach to an accessible art form for their audience. Negating current compositional trends and using text from Sandburg's poetry collections, Chicago Poems and Cornhuskers, Wharton melds the text into his evocative, imagistic musical language in his song cycle, The Prairie Sings. Using examples from the five movements of the cycle, I show the dependent relationship of verse and music. An in-depth analysis of the connection of poetry and music in each of the five movements of the cycle is contained in the paper. An additional connection in the dynamic interplay of the vocal line and piano accompaniment, the two "narrators" of the cycle, is also discussed. The resulting research points to an aspect of a creation of a regional American "sound, " reminiscent of trends of nationalism in the 19th and 20th century in art, literature and music.

Orientador: Tereza Cristina Cardoso / Co-orientador: Maria Cecília Rui Luvizotto / Banca: Rafael Silva Cipriano / Banca: Vera Lúcia Lorenzetti Magalhaes Curci / Banca: Carlos Noriyki Kaneto / Banca: Cáris Maroni Nunes / Resumo:A infecção pelo herpesvírus Bovino tipo 5 (BoHV-5) resulta em meningoencefalite não supurativa que é responsável por perdas econômicas significativas na América do Sul. Células tronco mesenquimais (CTM) são encontradas em diferentes tecidos fetais, como no cordão umbilical que possuí diversos fatores favoráveis para obtenção destas células. O objetivo da presente pesquisa foi avaliar o isolamento e a viabilidade das CTM bovinas e sua capacidade de diferenciação em outros tecidos de origem mesenquimal, como as "neuron-like cells" - células semelhantes a neurônios - (CSN), e avaliar a possibilidade da utilização das mesmas como modelo de infecção experimental com BoHV-5. As CTM foram isoladas da geleia de Wharton e diferenciadas em tecido adiposo, cartilagem, ósseo e CSN. As linhagens celulares foram caracterizadas pela expressão genica e imunofenotipicamente, utilizando a técnica de PCR, imunocitoquímica e citometria de fluxo, respectivamente. O conjunto de primers e painel de anticorpos primários, empregados na experimentação, permitiu caracterizar as células tronco e sua diferenciação em células neuronais. Após a adaptação e diferenciação, ambas as células foram infectadas pelo BoHV-5, exibindo efeito citopático e taxa de replicação viral aumentada 72 h pós infecção. A técnica de hibridização in situ identificou as partículas virais no interior das CSN e no meio extracelular. Os resultados demonstram a capacidade de diferenciação das CTM em outros tipos celulares e a possibilidade da utilização das mesmas como modelo de infecção in vitro de células neuronais pelo BoHV-5. Estes resultados corroboram o uso de MSC como fonte de NLC para uso no estudo da patogênese da infecção experimental pelo BoHV-5 / Abstract:Bovine Herpesvirus type 5 (BoHV-5) infection results in non- suppurative meningoencephalitis which underlies significant economic losses in South America. Mesenchymal stem cells (MSCs) are found in fetal tissues, such as the umbilical cord. The goal of this research was to characterize the isolation and viability of bovine umbilical cord MSCs for in vitro differentiation into "neuron-like cells" (NLC) to be used as a model for experimental infection with BoHV-5. MSCs were isolated from Wharton's jelly and differentiated in vitro into adipogenic, chondrogenic, and osteogenic cells as well as NLC. The cells lines were characterized molecularly and immunophenotypically, using PCR, immunocytochemistry, and flow cytometry. The set of primers and panel of primary antibody used in the experiments confirmed the isolation of mesenchymal stem cells and their differentiation into neuronal-like cells. After adaptation and differentiation, the cells were infected with BoHV-5, exhibiting typical cytopathic effect and increased viral replication rate 72 h post-infection. Viral particles were identified in the NLC and in the extracellular environment. by in situ hybridization These results corroborate the use of MSCs as a source of NLC which can be used to study the pathogenesis of the experimental in vitro infection wtih BoHV-5 / Doutor

By focusing on the status and state of women as represented in selected supernatural fiction by Edith Wharton, we explore the socio-gender relationships, as well as the gender roles of women in general as they existed in the early part of the twentieth century. These associations are discussed, as is the influence Henry James may have had on Wharton’s writing style within the genre of the ghostly tale. The conclusions made within this study lead the reader of the tales to believe that Wharton expressed different feminist perspectives based on how she was developing as a person and as a writer. The resources and scholarship that are strictly allocated to Wharton’s ghost stories are not as vast as they may be for her other fiction; however, more attention is being given to these supernatural works, and this study reiterates the literature’s scholarly importance.

The focus of this study is Lily Bart and how she maneuvers in the cold, competitive world of upper class New York. To create a framework for my investigation, I draw upon naturalistic readings of the story which portray Lily as an outsider or "other" in her society. Lily's ethical principles lead to her destruction. Her marriage problem is just an example of her rejection of the life that her society expects her to lead. As she becomes more aware of a different philosophy of life--characterized by Selden's "republic of the spirit"--she finds it impossible to abide by the rules and customs of her society. Ultimately she is unable to live in either world successfully. My research suggests that Lily's moral integrity prevents her from marrying only for money, but she is unable to see other choices available to her that will satisfy her need for luxury and wealth. In my study of Lily I examine the reasons why she could not reconcile the two opposing principles that lead to her downfall. My work analyzes Lily's inner struggles between her values and her ambition.

No description available.

This dissertation examines the relationship between women and economics in American Progressive Era through the discussion of selected works by Charlotte Perkins Gilman, Kate Chopin, and Edith Wharton. The authors and texts included in the study together demonstrate how women responded to the economic development and the concept of the separate spheres at the-turn-into-the-twentieth-century America. Based on Thorstein Veblen¡¦s socio-psychological theory of the leisure class and the institutional economics and Gilman¡¦s analysis on the sexual-economic relationship in marriage, my discussion aims to investigate the interconnection between human relationships, women¡¦s economic values, and economic exchanges in business, focusing on the methods the three women writers employ to re/present how middle/upper-class women redefine womanhood and construct female subjectivity in an economic system that favors men. In my introductory chapter, I explain the historical background of the period, general concepts in Veblen¡¦s economic theory, and the motivation, methodology, and organization of the dissertation. Chapter Two, ¡§Veblenian Workmanship and Gilman¡¦s Woman-Made Land,¡¨ purports to cross-examine Gilman¡¦s Women and Economics and her utopian fiction Herland, aiming to show Gilman¡¦s optimistic view on women¡¦s emancipation from the private to the public. In Chapter Three, ¡§Barbarian Status of Women and Chopin¡¦s Feminism,¡¨ I discuss by Chopin¡¦s The Awakening the tension between women¡¦s growing sense of an autonomous self and men¡¦s adherence to the institutionalized habits of thought. My fourth chapter, ¡§Conspicuous Consumption and Society Women in Edith Wharton,¡¨ is a study on the relationship between the display culture in the consumer society and woman¡¦s role as the non-productive consumer in Edith Wharton¡¦s The House of Mirth and The Custom of the Country. The concluding chapter, along with general comparisons of the heroines, outlines major arguments in the whole thesis.

Texte remanié de: Dissertation--Philosophische Fakultät--Universität des Saarlandes, 2004. / Bibliogr. p. 277-375.

This study will explore the dichotomy of culture and psychological landscape in Edith Wharton The Age of Innocence. To lay the foundation for this study, I first consider how Ms. Wharton often employed dichotomy in her own life: her role as socialite and author, woman of old New York and European maverick, and her life as spouse or beloved. Compartmentalizing her lifes roles prevented her from having to compromise the distinct qualities of each paradigm. Similarly, in The Age of Innocence, Ellen and May are completely opposite representations of life and culture in the 1870s who cannot happily coexist together. Wharton draws this contrast by painting their psychological landscapes, relying heavily on the motifs of water and fire, elements that if combined are mutually destructive. Ellen is unpredictable, uncensored, and exotic even Promethean; Wharton uses images of fire to convey this mindset. Conversely, Mays character is often cold, controlled and pale; she is a sculpted product, not a creator. In rare moments, May is radiant, even warm, but she never approaches Ellens heat. Wharton emphasizes then that there is no true bridge between Ellens and Mays ways of living through Newland Archer who fails to cross from his world to Ellens even though his love for her is true and enduring. My writing will argue that Newland fails to consummate his love for Ellen because Wharton has drawn a character who lacks the ability to choose. Although he admires the fire he sees in Ellen, it is something he must do from afar, for he is a man ultimately made of water.

Narrative, Gender, and Masquerade tracks the way the American novel of manners structures itself on representations of a pair of purportedly opposite and opposing women, the fair, innocent girl and the dark, tempting seductress. This opposition increasingly merges into sameness even as the novel in which it appears labors to keep the two characters separate in order to stabilize its textual architecture of thematic and formal binaries. Presenting itself as a text closely related to a social reality, the American novel of manners is structured as a masquerade: purporting to reveal as it conceals, conjuring readerly doubt as to the nature of both mask and reality. There are two main theoretical traditions in the study of masquerade. The first, the anthropologically-inflected cultural and literary historical approach to masks and masquerade, typically is applied to literary texts to explain religious and political historical exigencies as reflected in a given work of literature. The second, the psychoanalically-based theory of femininity as a masquerade, is most often deployed to use the text as a means of explaining the male gaze, desire, and gender performance. My reading of the American novel as gendered rests on dissolving the disciplinary borders between the two, thereby focusing reading on the form of the novel as well as its relation to its cultural, historical, and literary context. The novels I analyze situate women into stereotypical binary roles of the virgin and the seductress. These narratives register a duality between reality and representation that is analogous to the gender masking the novels take as their theme.

Approaching the idea of the library as a polyvocal, self-contradictory and even paradoxical dream, this thesis examines five select texts to examine how this dream emerges across vastly different representations in fiction. Discussed texts include Jorge Luis Borges’ “The Library of Babel” and “The Book of Sand,” Michael Ondaatje’s The English Patient, Ian McEwan’s Atonement, and Thomas Wharton’s Salamander. Special attention is given to the archetypal opposition between daytime’s clarity and night’s disorder, as well as to Alberto Manguel’s two hypothesized library foundational myths, the Tower of Babel and the Library of Alexandria. Although it attempts to remain conscious of social realities surrounding and producing historical libraries, this thesis is primarily concerned with the textual irruption of libraries in fictional narratives, and while its argument articulates the problematic dimension of libraries, it also endeavours to show how libraries are healthy, necessary, and even inevitable human creations. / A survey of library representations in select literary texts.