The Augustinian canons have never enjoyed the level of scholarly attention afforded to the monastic and mendicant movements of the central middle ages. This disparity has been particularly acute in the British Isles, despite being its most prolific religious movement. Scholars working in England, Ireland, and Wales have begun to correct this historiographical lacuna. In Scotland, the regular canons have also received comparatively scant attention, and, indeed, have largely been understood on the basis of imported paradigms. Therefore, the purpose of this study is to address a deficiency in Scottish historiography and make a contribution to the growing scholarship on the regular canons in the British Isles. The regular canonical movement is examined within the kingdom of Scotland over the course of roughly a century. Eleven non-congregational houses of regular canons are considered, namely Scone, Holyrood, Jedburgh, St. Andrews, Cambuskenneth, and Inchcolm and the dependencies of Loch Tay, Loch Leven, Restenneth, Canonbie, and St. Mary’s Isle. The kingdom of Scotland provides both a common context, and a diverse milieu, in which to consider the foundation and development of these institutions and the movement as a whole. The chronological parameters have been determined by the foundation of the first house of regular canons in Scotland in c. 1120 and the Fourth Lateran Council in 1215, which had the effect of artificially creating the Order of St Augustine. By examining individual houses separately, as well as in unison, this study seeks to present an integrated picture of the regular canonical movement in the kingdom of Scotland during the period of its organic development from c. 1120 to 1215. The fundamental question concerning the regular canons is the nature of their vocation and their societal function. It has increasingly been recognised that a spectrum of different interpretations of canonical life existed ranging from the active – pastoral, practical, and outward looking – to the contemplative – ascetic, quasi-eremitical, and inward looking – which were all part of the same decentralised religious movement. This thesis attempts to situate the Scottish Augustinians, as far as possible, within this spectrum. It argues that a unique manifestation of the regular canonical movement emerged in the kingdom of Scotland as the result of a range of factors – including shared patrons, leadership, and episcopal support – which had the effect of creating a group identity, and, thereby, a collective understanding of their vocation and role in society. The subject institutions have been particularly fortunate in terms of the quality and variety of the surviving source material. The evidence is comprised principally of charter material, but also includes chronicles and foundation narratives produced by Scottish Augustinians, and these provide an essential supplement. This thesis sheds light on an important group of religious houses in Scotland and on a complex religious movement that is only beginning to be fully understood, and, thus, it is hoped that this study will lay the groundwork for future research.

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This thesis examines the phenomenon of Sir Walter Scott's extraordinary Victorian popularity. Focussing on criticism of his Waverley Novels between 1832 - the year of his death - and the end of the century, the thesis plots the development and terms of Scott's eminence. An introductory chapter sets out principal areas of study, being followed by a section leading up to 1832. Then follow analyses of critical work on Scott by, respectively, Harriet Martineau, Thomas Carlyle, Walter Bagehot, John Ruskin, Leslie Stephen, Richard Hutton and Julia Wedgwood. The thesis concludes with an epilogic section covering critics of the late nineteenth century, including Frederic Harrison and Andrew Lang. In each instance the context of each critic's wider work figures prominently. The thesis contends that large elements of Scott's achievement received relatively little attention in Victorian criticism. These are Scotti,s Enlightenment interests in speculative history and detailed, almost sociological, methods of composition, as well as the 'experimental' character of his work. By contrast, much was made in criticism of what may be summarised as his 'health' and 'beneficial effects'. It is claimed that the construction of such consensual critical notions about the merits of Scott's very popular work had a great deal to do with the buttressing and underpinning of some Victorian attitudes. While these varied with critics' own preoccupations - and Scott's 'malleability' is remarkable - Scott's role was so significant in Victorian culture that his employment, within what was still a relatively eclectic and formally undisciplined critical practice, constituted significant ideological manoeuvring. Specifically, Scott's remit in Victorian criticism was most usually to represent and validate some kind of opposition to the present. This both excluded much of his achievement, and also narrowed the terms of his appraisal so as to permit a revealing coalescence of literary with social, political and even racial arguments. This thesis traces the increasing definition of such a pattern within Victorian criticism of the Waverley Novels.

Ce mémoire de thèse est une contribution à l'étude des canons modulo p. De nombreux outils mathématiques et informatiques ont été employés pour l'étude des canons rythmiques mosaïques. La recherche récente s'est particulièrement attachée à trouver les canons sans périodicité interne, dits de Vuza. Ces canons ont la particularité d'être une base pour la construction de tous les canons rythmiques mosaïques, cependant ils sont très difficiles à obtenir. La meilleure méthode actuellement est un algorithme exhaustif de recherche, qui malgré de récentes améliorations reste exponentiel. Plusieurs techniques ont été utilisées dans l'espoir de mieux les comprendre ou de les générer plus rapidement. Ce mémoire présente donc un nouveau sujet d'étude pour mieux comprendre le pavage apériodique. / This thesis is a contribution to the study of modulo p tiling. Many mathematical and computational tools were used for the study of rhythmic tiling canons. Recent research has mainly focused in finding tiling without inner periodicity, being called Vuza canons. Those canons are a constructive basis for all rhythmic tiling canons, however, they are really difficult to obtain. Best current method is a brut force exploration that, despite a few recent enhancements, is exponential. Many technics have been used, hoping to understand Vuza canons better or to generate them faster. Hence, this thesis presents a completely new way to study aperiodic tiling.

Title from accompanying document. / Digitized by Kansas Correctional Industries

The term 'Culmination chromatic density' (CCD) is devised for the thesis to describe perceived unusual chromatic harmony which occurs towards the end of a few of Bach's free organ fugues. The thesis seeks to determine the nature of the harmony, to establish if seventeenth and eighteenth-century theorists discuss fugue culmination harmony, and whether composers before Bach wrote fugues with unusual culmination harmony. After establishing an outline organ fugue chronology, historical music theory and fugues before Bach are examined for the purpose of identifying influences upon Bach's fugue culmination harmony. The main body of the thesis is an harmonic and structural analysis by chronology of thirty-six of Bach's fugues, individually and collectively. The analysis establishes fugue structure through tables of thematic entries, and the examination of thematic material, counterpoint, and tonal structure. The analysis also examines the accidentals, which are discussed and presented in graphs. The analysis of intervals gives detailed insight into the use of consonances and dissonances. Figured bass is used in music examples to show harmony and progressions. The analysis establishes that there is CCD in certain fugues of Bach, and that there are specific structural features, procedures and advanced compositional techniques associated with CCD. There is a clear link between incidences of CCD and fugue chronology. CCD is linked with fugue structure; and advanced fugues with CCD possess unique structures, procedures, and harmony. The analysis establishes that Bach uses background structures, an important additional compositional tool which is related to CCD. There is evidence of historical precedent in some aspects of CCD, both from music treatises, and in some fugues of antecedent French, German, and Italian composers. Areas for further research are suggested. Implications are that Bach uses previously undiscovered methods for fugue composition, and that there are potential changes to the established chronology.

My project explores ways in which legitimacy is granted within the literary field. This is done through an analysis of literary anthologies, university course syllabi, publishing trends, literary prizes, and levels and sources of critical attention. The project seeks to determine the extent to which the works of Afro-descendant Spanish American and Belizean writers are reflected in the hegemonic Spanish American and Anglophone Caribbean literary canons. I examine the works of Cristina Rodríguez Cabral (Uruguay), Shirley Campbell Barr, and Delia McDonald Woolery (Costa Rica), and Zee Edgell, and Zoila Ellis (Belize). The project records the varying degrees of legitimation these writers have received and the factors that have had an impact on their recognition. It also shows that literary interculturality is possible in Spanish America and the Anglophone Caribbean through the aesthetics some writers employ and the activities of legitimizing agencies. Further I propose a plurality of canons based on the concept of plural public spheres/counterpublics as outlined by Nancy Fraser and Michael Warner. My analysis of Belizean works emphasizes ways in which a national literary canon can be considered a counterpublic within a regional literary corpus. The concept of counterpublics I use to present the works analyzed is a model other scholars can employ in their examination of other minority literatures.

Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2 contains scores of ten fantasias "based upon the collation of all known manuscripts available." Cf. Foreword. eContent provider-neutral record in process. Description based on print version record. "A list of modern publications of Jenkins' Fantasias": v. 1, leaf 229. Includes bibliographical references (v. 1, leaves 230-242).

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