The purpose of this thesis is to discuss Wordsworth's evolving nature project, particularly during the Regency, when his sonnet collection The River Duddon offered an alternative view of nature to that found in the works of Byron and Shelley. This thesis argues that The River Duddon deserves renewed critical attention not only because of the acclaim it received at its publication in 1820, but also because it marks yet another turn in Wordsworth's evolving nature project, and one that comes in opposition to the depiction of nature given during the Regency by Byron, and Shelley. Wordsworth's portrayal of nature dramatically changed throughout his lifetime. The first chapter deals with the poet's shifting notions of nature up until 1810. Most of the poems discussed here come from Lyrical Ballads, the key collection of Wordsworth's early years. In particular, I suggest that "Tintern Abbey" can be read as a hypothesis wherein Wordsworth reconciles the doubt regarding nature he expressed in earlier poems such as "The Female Vagrant" and "The Thorn." While Wordsworth continued to express doubt in poems such as "Two April Mornings," "The Fountain," and "Michael," he expressed an appreciation for nature in relation to God in "Ode: Intimations on Immortality." On the eve of the Regency, however, he returned to doubting nature's benevolence in "Peele Castle." The second chapter deals with the Regency, looking at the development of Wordsworth's reputation and the emergence of Byron and Shelley's so-called "Satanic School" of poetry. Wordsworth's career during this time was marked by mixed criticism, as evidenced by The Excursion and Peter Bell. At this same time, his Romantic philosophies of nature were being challenged by the more liberal views set forth by Byron and Shelley. This chapter looks specifically at Byron's Don Juan and "Darkness" and Shelley's Alastor and "Mont Blanc" in order to contrast Wordsworth's nature project with that of the "Satanic School." My final chapter turns to Wordsworth's final Regency-era publication, The River Duddon. Here I argue that, while this is one of the poet's lesser-known works, The River Duddon marks a significant new phase in the Romantic conversation concerning nature and is thus worthy of more extensive study. Not only does this poem portray a more confident trust in nature than previously seen in Lyrical Ballads, but it also serves to juxtapose the depiction of nature presented by the "Satanic School" during the Regency. To highlight differences between the projects of Wordsworth and the "Satanic School," I conclude with a comparison of The River Duddon with Byron's "Darkness" and Shelley's "Mont Blanc."

The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion. / Master of Arts / The following is a case study in contemporary cancel culture through three cases of it in the nineteenth century. Writers, Lord Byron, Lady Caroline Lamb, and Harriet Beecher Stowe serve as three prominent cases of cancel culture in their time period that are all closely linked to one another. Cancel culture changes the way that we study these figures and their writing in the modern day. It highlights how cancel culture is not as black and white as people initially believe while also showing an unbiased explanation of what transpires when a person is canceled. This shows that although we believe that cancel culture is a new phenomenon with the rise of social media that is not the case. Cancel culture has been happening through time as a way for the public to enact social justice without getting the court involved. Cancel culture is a lesson in the public court of opinion.

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Robert Schumanns intensive Beschäftigung mit Lord Byrons Werk 'Manfred' begann im Juli 1848. Obwohl Schumann die Herausgabe seines 'Manfred' als Gesamtwerk wichtig war, hat er sie nicht mehr vollständig realisiert. Zu Lebzeiten erschienen und von ihm autorisiert sind lediglich die Ouverture in Partitur, Klavierauszug und Stimmen im Jahr 1852 sowie 1853 der zweihändige Klavierauszug des gesamten Werks und der vierhändige Klavierauszug der Ouverture. Erst nach Schumanns Tod 1856 wurden 1859 die Vokalstimmen, 1860 die Orchesterstimmen sowie 1862 die Partitur der Bühnenmusik veröffentlicht (wie schon die früheren Ausgaben vom Verlag Breitkopf & Härtel). Die Vorlage für die postume Ausgabe in Partitur und Stimmen ist verschollen; die Ausgabe selbst beinhaltet Eingriffe von fremder Hand. Damit ist eine historisch-kritische, an Schumanns Intentionen orientierte Neuedition dringend geboten. Die vorliegende Arbeit bezieht für eine grundlegende historisch-kritische Neuedition erstmalig alle heute überlieferten Quellen ein und bietet darüber hinaus eine umfängliche und vollständige Darstellung der komplexen Genese von Schumanns 'Manfred'. Zudem wird auf der Grundlage der philologischen Erkenntnisse die für dieses Werk vorherrschende musikwissenschaftliche Auseinandersetzung problematisiert und diskutiert. Dabei folgt die vorliegende Arbeit den Editionsrichtlinien sowie dem Aufbau der Bände der Neuen Robert-Schumann-Ausgabe , wozu u.a. auch die Verwendung der alten Rechtschreibung zählt. Das erste Kapitel Stand der Forschung beinhaltet zunächst einen kurzen Überblick zur Editionsgeschichte der 'Manfred'-Partitur. Es folgt eine Übersicht der bislang erschienenen Sekundärliteratur zu 'Manfred', die trotz disparater Auseinandersetzung mit dem Werk eine Gliederung nach Aspekten zuläßt. Das sich anschließende Kapitel Werkgeschichte unterteilt sich in vier große Abschnitte. Der erste Abschnitt befaßt sich mit der Entstehungsgeschichte ausgehend von einem Überblick über alle im Zeitraum 1817–1848 erschienenen deutschsprachige Übersetzungen des 'Manfred'-Stoffes und dem Einfluß des Vaters August Schumann als Verleger und Byronexperte bis hin zu Schumanns konkreter Beschäftigung mit detaillierter Darstellung der komplexen Werkgenese. Der zweite Abschnitt behandelt ausführlich die Drucklegung. Da der Druck der Partitur des Gesamtwerks postum erschienen und damit nicht vollständig von Schumann betreut wurde, ist dieser Teil grundlegend und sehr wichtig für jede weitere Auseinandersetzung mit Schumanns 'Manfred'. Der dritte Abschnitt Aufführung und Rezeption umfaßt die vollständige Aufführungsgeschichte und deren Analyse sowie einen Aufführungskalender. Zudem sind die Bearbeitungen des 'Manfred'-Textes wie die von Richard Pohl (1858), Josef Bayer (1859), Friedrich Röber (1860), Ferdinand Kürnberger (1859) ausführlicher behandelt. Den Abschluß der Werkgeschichte bildet ein Dokumenten-Anhang mit bislang unveröffentlichten Briefen sowie allen umfangreicheren Rezensionen bis einschließlich 1866 . Der Werkgeschichte schließt sich das Kapitel Quellen mit Quellenbeschreibung und bewertung an. Einen großen Raum nimmt dabei die Textsynopse ein, die Byrons Original und Schumanns benutzte Übersetzungen vollständig wiedergibt sowie in der letzten Spalte alle Abweichungen zum Handexemplar in genetischer Reihenfolge enthält. Zudem beinhaltet das Kapitel Schumanns ausführlichen Bearbeitungsprozeß zu Manfred und erörtert spätere, d. h. nach Drucklegung erfolgte Ergänzungen in der Kopistenabschrift BT2. Das letzte Kapitel Revisionsbericht ist zweigeteilt: es beinhaltet die Neuedition der Partitur des Gesamtwerks und den Bericht über die Abweichungen zwischen der autographen Partitur AP – die eine bis heute völlig unbekannte und autorisierte Frühfassung der Ouverture enthält – und der Originalpartitur der Ouverture OPO.

This dissertation examines the administrative principles found in retired Supreme Court Justice Byron White's administrative law case opinions. The purposes of the dissertation are to explore and identify the dominant themes found in White's administrative law opinions and to discover what public administration can learn from a Supreme Court justice who took more than a passing interest in governance matters.This study has the following research expectations: • There is an identifiable White administrative law jurisprudence; • Within this jurisprudence, there are principles that recognize and are sensitive to the demands of modern governance; and • White's administrative thought can be translated and used by public administrators to guide and instruct their work.The first part of the dissertation is descriptive as the dominant themes in White's administrative law jurisprudence are identified and examined. Standard case briefing analysis is used for this exploration. The second half of the project is normative, wherein Rohr's 'regime values' framework is used to explore what public administrators may learn from studying White's administrative law opinions. Moreover, this section of the dissertation will explore the extent to which White's conception of modern governance incorporates what scholars have referred to as the judicialization of the modern administrative state by the federal courts and what is White's conception of a constitutionally competent civil servant. / Ph. D.

This thesis identifies strategies of queer/irony in the writings of Lord Byron, Heinrich Heine, Theodor Fontane, and Oscar Wilde. Key to the understanding of irony is Friedrich Schlegel's re-evaluation of the concept. The thesis establishes an approach to the multifaceted concept of irony and identify key concepts of queer theory. The focus, however, is close reading. First, Lord Byron's epic satire Don Juan is read with regards to the interplay of narrative strategies and the depiction of gender, homoeroticism and the concept of the child. Furthermore, reviews published at the time of the publication of Don Juan are examined: Why did the reviewers reject the work so violently? Second, in Heine's Buch der Lieder we find ironic strategies that Richard Rorty subsumed into the concept of 'final vocabularies.' By acknowledging the formulaic nature of language in general and Romantic tropes in particular, Heine succeeds in subverting a heteronormative discourse on love and desire. Heine's Reisebilder – 'Die Reise von München nach Genua' and 'Die Bäder von Lucca' – depict the limits of queer/irony: Where meaning is fixed, as in the case of the Platen polemic, irony loses its propensity to contain multitudes. Third, Theodor Fontane's novels of adultery are read against the background of irony as established through a Schlegelian reading of Frau Jenny Treibel and a queer reading of Ellernklipp. The novels Unwiederbringlich and Effi Briest question notions of truth and map the danger of knowledge. At the core of this chapter lies the notion of 'knowledge management,' a strategy closely related to irony. The figure of the courtier Pentz in Unwiederbringlich becomes a harbinger of dangerous, queer knowledge similar to the way Crampas' use of Heine quotations negotiates sexually suggestive knowledge in Effi Briest. In a final step, the aforementioned queer/ironic strategies are employed to read texts by Oscar Wilde. Are the strategies as inferred in the other chapters valid for Wilde's writings as well? We find that, in a time where homoerotic behaviour was heavily sanctioned, ironic writing had become a liability. Wilde's ironies are too opaque for the reader: They have become a movement where nobody is allowed to 'play along'.

Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.

As a choreographer working with new media technologies, I recognised a need to develop choreography informed by the digital age. This study was framed by the development of the dance project Ada, over three stages through a qualitative, interdisciplinary process. Artistic practice as research grounded in task based choreographic processes led to the following areas of significance in the study, those being; enacting a narrative, physicalising interactivity, performing virtual dance, and choreographing through a digital perspective. Findings that enunciated the evolution of newmedia choreographic forms and structures arose from reflective practice, dialogue with participants and feedback from a live audience.