This paper investigates Herman Melville’s quest for spiritual stability and certainty in his novel Moby-Dick. The analysis establishes a philosophical tradition of doubt towards the Bible, outlining the philosophies of Thomas Hobbes, Benedict de Spinoza, David Hume, Thomas Paine and John Henry Newman. This historical survey of spiritual uncertainty establishes the issue of uncertainty that Melville writes about in the nineteenth century. Having assessed the issue of doubt, I then analyze Melville’s use of metaphorical charts, which his characters use to resolve this issue. Finally, I present Melville’s philosophical findings as he expresses them through the metaphor of whaling. Here, I also scrutinize Melville’s depiction of nature, as well as his presentation of the dichotomy between contemplative and active questing, as represented by the characters Ishmael and Ahab.

This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

See file 01 / Art History, Visual Arts and Music / (M.A. (Visual Arts))

L'utilisation étendue des allusions dans Heartbreak House de Bernard Shaw caractérise cette pièce par rapport aux autres oeuvres de l'auteur. Les allusions, du second niveau de lecture, donnent à cette pièce cohérence et unité. À partir de la théorie poststructuraliste de Barthes, l'approche cherche par quels mécanismes Shaw insère dans le texte divers plans de signification. Après une brève revue de la réception générale et de la critique, l'analyse procède par l'examen d'allusions implicites référant à Shakespeare, Lewis Carroll et Sébastian Brandt. Ensuite, l'examen se tourne vers les allusions inconnues référant aux oeuvres d'Oscar Wilde, de Thomas Carlyle, de Samuel Taylor Coleridge, de Walt Whitman, de Joseph Conrad, et de H. G. Wells. Finalement, l'analyse examine le décor en tant que symbole et allusion, fournissant une clef à la compréhension complète de l'oeuvre.

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德國愛國詩人海涅 (Heinrich Heine, 1797-1856) 於1831年流亡至法國，在闊別祖國13年之後，第一次返鄉時目睹祖國封建專制，社會瀰漫於宗教迷思的狀態，於是在回程時寫下遊記詩《德國，一個冬天的童話》(Deutschland. Ein Wintermärchen)，作品中利用當時的人、事、物，中世紀典故、古希臘羅馬時期典故以及宗教典故等反映當時的政治光景，是海涅不滿當時的政治情景而作的諷諭詩 (Zeitsatiren)。作者在文本中多處使用聖經典故嘲諷當時政治社會議題，例如文檢制度與復古運動等。由於在台灣一般人對西方基督教文化的理解有限，聖經中的宗教典故對大多數人是陌生的。所以本文的目的在於探究海涅的遊記詩《德國，一個冬天的童話》中宗教典故之運用，希望藉由本研究的分析與詮釋，有助於華語世界的讀者藉著對聖經中宗教典故的認識，進而對海涅所諷刺的議題能窺其堂奧，更深入了解這部作品的精華。 / German patriotic poet Heine (Heinrich Heine, 1797-1856) was exiled to France in 1831. Thirteen years after leaving his homeland, when first he returned to Germany, Heine observed that the state was still characterized by feudal autocracy, and that society was filled with religious superstition. Upon his return, he wrote the poem, "Germany, a Winter's Tale" (Deutschland. Ein Wintermärchen), in which he reflected on the political situation in terms of the issues of his time, Greco-Roman and medieval allusions, and other religious allusions. The satire (Zeitsatiren) was written by a Heine dissatisfied with the status quo. In the text, many biblical allusions are applied to ridicule contemporary popular topics, such as Cultural Censorship and Restoration. For readers in Taiwan, the religious allusions constitute a barrier to understanding and most Taiwanese are unfamiliar with the Bible. The main purpose of this paper is to explore the usage of the religious allusions of Heine’s poem "Germany, a Winter's Tale" in hopes that the analysis and interpretation offered will help Chinese-speaking readers understand the religious allusions of the Bible and better appreciate the issues ironically highlighted in this work.

This thesis examines the use and function of a specific group of Psalms, the so-called “Royal Psalms,” among the texts of the Qumran library. From the time of their integration into the worship practices of the Israelite people in the obscure past to the Second Temple period and beyond, these Psalms continued to be a source of inspiration to the Jewish people. Though there have been many studies that have analyzed their Sitz im Leben, use, interpretation, and application for many different periods, no study has attempted a thorough analysis of their use among the Qumran documents. Analyses of the use in the Qumran texts of certain individual Royal Psalms exist, but these do not attempt to cover the Royal Psalms as a corpus. The present thesis will analyze the appearance in the Qumran library of the eleven generally-accepted Royal Psalms: Pss 2, 18, 20, 21, 45, 72, 89, 101, 110, 132, and 144. This study explores whether or not these Psalms are to be found in the known Qumran Psalms scrolls, variations or differences as compared to the Masoretic Text, how they are were interpreted in exegetical and other texts, quotations of and allusions to them, and how themes from the Royal Psalms contribute to the structure and theology of non-canonical royal psalms found at Qumran. An understanding of the use of the biblical Royal Psalms in these texts is of value for our comprehension of what happened to the pre-exilic royal traditions as these hymns continued to be used in a post-monarchic society. This dissertation makes an original contribution toward these goals, establishing that there was an interest on the part of the authors of many of the Qumran texts in royal themes although they lived long after the monarchy had ended.

This essay examines the inherent instability present in Diana Wynne Jones’ 1986 novel Howl’s Moving Castle. I suggest that in relying on the ambiguity of the story and the setting, Jones creates not only a more complex universe, but allows the characters to be multidimensional -- both literally and figuratively -- without having any stable selves. Using deconstruction as a (non-existent) foundation for my analysis, I contend that the strength of the story is in the looseness of it. Thus, by using a Derridean approach with added Cixousian feminist elements and a heap of Kristevian intertextuality, I further argue that Jones invites the reader to embrace the ambiguity of identity by closely analyzing the conflicting behaviours of the two main characters in the novel, Sophie Hatter and Wizard Howl. In conclusion, I argue that Diana Wynne Jones through subverting classic fairy tale tropes in an ingenious way, suggests that there is no such thing as a final finished growing person and that there is comfort to be found in embracing this incompleteness.

Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.