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Part of Thesis (Ph. D.)--University of Chicago, 1933. / "Private edition, distributed by the University of Chicago libraries."

Call number: LD2668 .T4 1936 P42

Don Gillis wrote Symphony No. 5½ (1947) in order to reconcile the American public with modern art music. By synthesizing jazz (as well as other American folk idioms), singable melodies, and humor, and then couching them into symphonic language, Gillis produced a work that lay listeners could process and enjoy. The piece was an immediate success and was played by orchestras across the globe, but it did not retain this popularity and it eventually faded from relevancy. This study focuses on elements that contributed to the initial efficacy and ultimate decline of the work. Due to its pervasive popular influences, Symphony No. 5½ is a crystallized representation of time in which it was written, and it soon became dated. Don Gillis did not harbor the idea that Symphony No. 5½ would grant him great wealth or musical immortality; he had a more pragmatic goal in mind. He used every musical element at his disposal to write a symphonic work that would communicate directly with the American people via a musical language they would understand. He was successful in this regard, but the dialogue ended soon after mid-century.

This creative nonfiction dissertation is a memoir of the author's search for the somewhat mysterious hidden past of her father, the lexicographer Charles J. Lovell, who died in 1960, when the author was nine. Her father's early death left the author with many unanswered questions about his past and his family and so she undertakes a search to answer, if possible, some of those questions. Her search takes her to Portland, Maine; New Bedford, Massachusetts; and Pasadena, California, where she tries to discover the facts and uncover the forces that shaped her father's life. Along the way, she realizes how profoundly his death affected and shaped her own life, contributing to the theme of loss that pervades the memoir. In addition, she begins to realize how much her mother, Dixie Hefley Lovell, whose significance she previously overlooked, shaped her life. Ultimately, she comes to understand and accept that some of her questions are unanswerable.

This thesis discusses the life and writings, particularly the poetry, of Vachel Lindsay, with an emphasis on his Americanism.

Thesis (doctoral)--Universität, Zürich, 2005. / Includes bibliographical references (p. 191-194).

Este trabajo analiza un acontecimiento político lingüístico singular en el marco de la Nueva política lingüística panhispánica (RAE y ASALE 2004): la publicación del Diccionario de americanismos (2010). Se adopta una perspectiva  glotopolítica que considera los diccionarios como intervencionesen el espacio público del lenguaje, advirtiendo la relación que estos entablan con requerimientos históricos más amplios. La obra estudiada opera como un gesto complementario de la idea de “español global”, que iría en detrimento de variantes léxicas concebidas como localismos. Es decir, ambos modelos de lengua, con énfasis en lo global o en lo local según el caso, argumentos y discursos metalingüísticos diferentes, participan de un juego signado por los mismos intereses económicos, ansiosos de captar un mercado más rentable. / This paper analyzes a singular political-linguistic event in the framework of the New panhispánica language policy (RAE y ASALE 2004): the publication of the Dictionary of Americanisms (2010). One glottopolitics perspective that considers dictionaries as interventions in public space of language, noting the relationship they establish with broader historical requirements is adopted. The work under study operates as a complementary gesture of the idea of “global Spanish” which would undermine lexical variants conceived as localisms. That is, both models of language, withemphasis on the global or local as appropriate, different meta-linguisticarguments and discourses, participate in a game denoted by the same economicinterests, eager to capture a more profitable market.