Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 5, 2007) Includes bibliographical references.

Thesis (M.F.A.)--Georgia State University, 2009. / Title from file title page. Cheryl Goldsleger, committee chair; Craig Dongoski, Pam Longobardi, committee members. Description based on contents viewed Sept. 1, 2009. Includes bibliographical references (p. 30).

Thesis (Ph. D.)--University of Wisconsin-Madison. / Includes bibliographical references.

Thesis (M.S.)--University of Wisconsin--Madison. / Includes bibliographical references (leaves 105-110).

Thesis (M.S.)--University of Wisconsin--Madison. / Title from title screen (viewed July 26, 2007). Includes bibliographical references (leaves 105-110). Online version of the print original.

Notre intention, dans cette these, est d'examiner par une analyse interne le degre de coherence artistique qui existe aux niveaux symboliques, thematiques et structuraux dans Le Jour est noir de Marie-Claire Blais. A cette fin, nous nous servirons de trois methodes critiques: critique phenomenologique, critique thematique et critique structurale. Le premier chapitre etudie la symbolique du temps selon une methode phenomenologique. Dans le roman, les images qui se referent a l'eau constituent l'expression centrale du temps, formant un reseau temporel et spatial qui symbolise le passe, le present et l'avenir des person-nages. L'Eau est evoquee sous plusieurs aspects: la mer, la riviere, le brouillard et la neige. Leurs nuances symboliques seront examinees. Le deuxieme chapitre etudie la thematique de l'a-lienation. Deux niveaux d'alienation sont decrits: une alienation relative et une alienation absolue. Le troisieme chapitre examine la structure interieure du roman a la lumiere des observations de Claude Bremond sur la structure des oeuvres romanesques parues dans son article "La Logique des possibles narratifs." / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.

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