Diss.--Philosophie--Köln, 2007. / Bibliogr. p. 175-181.

Zugl.: Hannover, Hochsch. für Musik und Theater, Diss., 2009

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Mar. 01, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 22-23).

This is a paper about Canto IV of Lord Byron's long narrative poem, Childe Harold's Pilgrimage. It demonstrates the ways in which that poem makes use of both georgic themes and the theories of Catastrophist geology current at the end of the eighteenth century. In short, these two lenses create a mode of poetry in which Byron can view the ruins of Italian culture being consumed by nature in a positive, revolutionary, regenerative light. The paper concludes by contrasting this attitude of Byron's to Victorian attitudes toward ruins in the wake of Uniformitarianism. Readings of the archaeological site at Pompeii, Matthew Arnold's "Stanzas from the Grande Chartreuse," and Darwin's later work demonstrate that late-19th-century scientific georgic cultivates an ethos of preservation and a desire for human agency. / text

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Matthew Arnold's five long poems were published between 1852 and 1867. In these poems (Empedocles on Etna, Tristram and Iseult, Sohrab and Rustum, Balder Dead and Merope) Arnold tries to analyze a number of themes, like nature, moral values, poetics, and the place of authority in society. His analysis is dialectical, and one notices great distress and an inability to resolve these issues. This thesis examines Arnold's confusion, as well as his eventual calm acceptance of life in all its contradictions. It concludes subsequently that Arnold has a genuine desire to find personal dialectical syntheses where possible.

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The study traces Arnold Schoenberg's spiritual journey as he moves from his oratorio Die Jakobsleiter, through his nonmusical drama Der biblische Weg to the opera Moses und Aron. These works span the years from approximately 1915 to 1933, the period which coincides not only with Schoenberg's religious shift from Lutheranism to Judaism but also with the appearance of his early dodecaphonic works. It is argued that the works of this period, the religious shift and his conception of twelve-tone serialism are all deeply and inextricably connected. This study, with support from Schoenberg's writings, postulates that twelve tone serialism, the technique with which the name of Schoenberg is associated, was not an inevitable solution to the chromatic saturation of musical composition at the end of the nineteenth century, but that it was shaped by the composer's spiritual needs and by the fact that he lived in Europe during one of the most turbulent periods of her history. The dissertation approaches the topic from the perspective of Schoenberg, the assimilated Jewish artist in late-Romantic Vienna, who moves through various stages of eclectic religious beliefs, arriving finally at an acceptance of the monotheistic concept of the Jewish God. Various correspondences emerge between Schoenberg's religion and his music: the artist/genius as prophet whose mission it is to elevate the people; the idea of progress and the artist's obligation to create new art; the God Idea and prayer as it relates to the musical Idea (the Gedanke) and ultimately the idea of One God, the Mosaic Law and the Twelve-tone Row. / Thesis (Ph.D.)-University of Natal, Durban, 1998.