The purpose of this study was to describe the characterization of the major figures in the six novels of Thornton Wilder and to show that two predominant themes, one, moral, the other, religious, are illustrated in the characterization of the major figures. The novels, written during four decades are the following: The Cabala (1926), The Bridge of San Luis Rey (1927), The Woman of Andros (1930), Heaven' s My Destination (1934) , The Ides of March (1948), and The Eighth Day (1967).The research entailed a close examination of the six novels and of the criticism regarding each novel. It also included a careful reading of Thornton Wilderts remarks on the novel and on characterization within that genre.The dissertation was divided into two parts: the description of the characterization in the six novels and the illustration of two themes by means of that characterization. The description of the characterization was limited to that of the major individuals in each novel, because it is through their delineation that the two predominant themes are illustrated. The description of the characterization was then divided into three parts: the patterns of characterization in the six novels; the specific delineation of major figures in the first three novels; and the specific delineation of major characters in the last three novels.In separate chapters the moral theme and the religious theme were traced throughout the six novels. Theme was used as a concept expanded upon within the novels. Each theme was shown with variations in intensity and expansion of expression, the variations running sometimes parallel and sometimes contrapuntally. The expansion of the themes by means of variations and repetitions made them resemble melodic motifs in a symphony.The moral theme, one's search for the way to live, was derived from Pamphilus's question in The Woman of Andros: "How does one live?" The religious theme was based on Caesar's question in The Ides of March: "Is there a Mind in or behind the universe which is watching us?" This theme included not only man's search for a divinity or Supreme Being, but his desire for knowledge for his relation to that Being and of the extent to which such a Being governs man's destiny.The description of the characterization disclosed several patterns in Wilder's delineation of a wide range of characters from varying milieux. Reasons were suggested in the three descriptive chapters for the fact that some of these patterns vary while others remain constant. It was noted that Wilder's characterization in the first three novels illustrates his concept of the function of the novel; that his characterization definitely improves in Heaven's My Destination and The Ides of March, where he moves to indirect delineation through speech and action; and that his characterization shows development in his last novel, The Eighth Day, in its expansion to include delineation of characters not only as complex individuals within a group or community, but also as products of their past and their environments and in relation to parental influences.It was suggested that the illustration of the moral and religious themes through the characterization exemplifies both Wilder's justification of narration on the basis of the ideas it presents and his desire to include moral and religious concepts within his works. The study also showed that the moral theme is the more constant and that the religious theme reveals Wilder's progression from ambivalence to serious consideration to emphatic affirmation.

The intent of this dissertation is to provide a reference guide for any prospective performer of Alec Wilder's four works for marimba: Suite for Solo Guitar (1976), Suite for Trumpet and Marimba (1977), Suite for Flute and Marimba (1977), and Sextet for Marimba and Wind Quintet (1977). The first part of the dissertation provides background information pertaining to Wilder himself, the works for marimba, and theoretical aspects of Wilder's music. The second part addresses specific performance problems contained in the music. The dissertation culminates with the presentation of a performance edition of the marimba part of the previously unedited Sextet.

The aim of this paper is not to disprove previous interpretations of Wilder's work, but to enlarge on them. The problem is not that the opinions of the early critics and many of the later ones were incorrect; the were merely incomplete. This paper shall attempt to show that Wilder's major thematic material falls into two interlocking and overlapping groups. Repeatedly Wilder deals with the relationship of man to something beyond himself, and the relationship of man to individual man and to mankind.

The intent of this dissertation is to provide a reference guide for any prospective performer of Alec Wilder's four works for marimba: Suite for Solo Guitar (1976), Suite for Trumpet and Marimba (1977), Suite for Flute and Marimba (1977), and Sextet for Marimba and Wind Quintet (1977). The first part of the dissertation provides background information pertaining to Wilder himself, the works for marimba, and theoretical aspects of Wilder's music. The second part addresses specific performance problems contained in the music. The dissertation culminates with the presentation of a performance edition of the marimba part of the previously unedited Sextet. This dissertation will facilitate and enhance future performances of these works. It is hoped that this document will serve to help perpetuate and sustain interest in these important compositions.

Thesis (D.M.A.)--University of Rochester, 1968. / Listing of woodwind music: leaves 211-213. Vita. Discography: leaves 215-216. Bibliography: leaves 217-218. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5886

Thesis (M.F.A.)--University of Wisconsin--Madison, 1985. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 72-73).

Laura Ingalls Wilder's eight-novel Little House series, published between 1932 and 1943, is among the most acclaimed and controversial examples of modern children's literature. The narrative tells the true story of Wilder's pioneer childhood in the 1870s and 80s, including her family's encounters with American Indians. Recently some scholars have argued that Wilder's depiction of American Indians is derogatory, but examining Wilder's literary devices and contextualizing the story in the eras in which it occurred and was written about reveals a more complex portrayal of Native themes. Biographical information about Wilder suggests that she deliberately crafted her story as she recorded it; such changes afforded opportunities to emphasize her political values and critique mythology associated with America's frontier era. Analyzing the narrative in the context of frontier Kansas, and more specifically as women's frontier literature, reveals the literary uniqueness of the Little House story and highlights fallacies inherent in the premise of Manifest Destiny. As Wilder recorded her memories with the help of her well-known libertarian daughter, Rose Wilder Lane, during the Depression they often emphasized their anti-New Deal politics and cautioned readers about the dangers of buying into "big government" policies. The Little House story also reflects trends of the Golden Age of children's literature which demonstrated respect for children by removing didactic lessons from the literature; thus the Little House texts present the controversial subject of America's frontier history in a manner that allows children to draw their own conclusions about it. Finally, two television versions of the Little House story present didactic, positive lessons about American Indians on the frontier, but diminish the possibility for multiple interpretations of the events inherent in Wilder's original story. In a non-fiction article in The Missouri Ruralist in 1920, Wilder reminded her neighbors that home is "the best place for teaching many things, first and most important of which is how to think for one's self." Wilder's texts offer opportunities for discussing the complex topics associated with frontier history and encourage young readers to think critically about Native issues in the texts--opportunities seldom found in mainstream American storybooks and curriculum.

The compositions of American composer, Alec Wilder, span multiple, often disparate, genres within the classical and popular music styles. During his lifetime, much of Wilder’s greatest success came from his popular songs. However, his body of work is much more vast, and some of his vocal work should be classified as art song. Wilder’s formal training, aptitude for learning, and experiences with popular music provided him with a diverse artistic palette and a unique musical voice. This resultant style is eclectic and includes modality, rhythmic motives, melodic figures, extended harmonies, and text painting.Wilder scholars, David Demsey and Ronald Prather categorized one hundred and seventeen of Wilder’s compositions as art songs. From this group, nine songs were selected and analyzed according to academically accepted characteristics of Art Song: poetry, harmony and melody, the relationship between the voice and the piano, text setting, phrasing and structure, form, and vocal demands in order to justify the songs’identification as art songs. Furthermore, this document contains brief biographical information on Alec Wilder’s life, career, and varied musical endeavors as well as a concise discussion of scholarly literature concerning the composer and his oeuvre.Alec Wilder composed music within multiple genres and styles. His output is prolific, yet his art songs remain relatively unknown. It is hopeful that this document will bring new attention to Alec Wilder, and, specifically, his art songs.

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Thesis (M.S.)--Wisconsin State University (La Crosse), 1970. / Includes bibliographical references (leaves [69]-77).