Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 101-110).

Diss.--Philosophische Fakultät I--Universität Zürich, 1993. / Notes bibliogr. Bibliogr. p. 310-324.

The art of Leonard Cohen has been the subject of several recent literary studies and numerous short reviews. Often superficial features of his work distract those studying him and lead them to conclusions which do not account for a number of more important qualities which lie at the center of his art. Cohen's point of view, as it is manifested in his art, is frequently given only cursory attention and this leads to a misinterpretation of his work. The critical approach used in this thesis is designed to illuminate Cohen's position in relation to his art and account for the various apparently contradictory features noticed in his work. This study consists of an examination of Leonard Cohen's prose and poetry from a critical perspective centering on Cohen's "willed self-alienated" point of view. The self-alienated center of consciousness from which Cohen's work originates is delineated and its adequacy as a source of aesthetic and philosophical values discussed. The method of inquiry is mainly interpretive, but Cohen's art is also discussed in relation to several of the main themes and conventions of modern literature from an historical point of view. The basic conclusion of this study is that Cohen's "willed self-alienated" point of view is the source of what are called dynamic aesthetic values. Willed self-alienation may briefly be defined as a chosen mode of existence in which the individual maintains a continuous process of negation of virtually all forms, systems, beliefs, and habits which are in themselves "static" and therefore contrary to life. This process results in a capacity to be self-creative because the individual feels no allegiance to a particular self-conception. Cohen uses this point of view in his art in a way that allows him to exhibit a variety of apparently contradictory traits. This fragmentation of the consciousness at the center of the art must be grasped if Cohen's work is to be fully appreciated. The basic impulse of the willfully self-alienated individual is to "become" other than he is at any particular point in time. The temporal emphasis for such a mode of existence is, therefore, the present moment. An aesthetic perspective emerges directly out of this situation. The main temporal focus of aesthetic concerns is the present and, in the arts, "moments" of perfection. Cohen's willed self-alienation does not permit him to dwell in single perfect moments like Breavman in The Favorite Game. Cohen is concerned with the eternal or expanded moment of consciousness in which the individual is aware of his life and creative ability. The values which emerge from Cohen's art are directly related to a fusion of his willed self-alienated point of view and dynamic aestheticism. / Arts, Faculty of / English, Department of / Graduate

It was the purpose of this study to introduce a selected representative body of literature by the Canadian author Leonard Cohen to local audiences.

Thesis (Ph. D.)--West Virginia University, 2000. / Title from document title page. Document formatted into pages; contains v, 225 p. Vita. Includes abstract. Includes bibliographical references (p. 211-221).

La thèse rend compte d’une tentative de penser le rapport entre les mythes bibliques et l’œuvre d’Albert Cohen. Pour cela, la première partie de la thèse s’emploie à mettre en lumière la façon dont les mythes de la Genèse deviennent des palimpsestes sur lesquels se greffe l’existence simultanée d’interprétations superposées et souvent contradictoires. Langage codé par excellence, le mythe dévoile le mystère des commencements en même temps qu’il peut renforcer sa profonde opacité. L’hypothèse est que sous le couvert d’une dialectique entre la création et la chute, les mythes dissimulent une complexité générique : il s’agit de l’articulation problématique de l’origine et de sa résistance à toute tentative d’élucidation. Tout s’articule autour du savoir que les mythes véhiculent sur les genres biologiques (animal / humain), les genres grammaticaux (masculin / féminin) et les genres du discours religieux (religieux ou philosophique/ littéraire). Dans une deuxième partie, la thèse examine les enjeux religieux et philosophiques des mythes et des figures messianiques, en tant que modèles de joie, d’espérance et de rédemption. Le messianisme, en tant que phénomène d’espérance réactualise la quête de la plénitude, qui vient cependant se heurter à l’insatisfaction ontologique de l’homme. Dans une troisième partie, une analyse de l’œuvre sous les feux croisés des mythes de la révolte (Babel, Satan, Job) vient éclairer la dimension ambivalente d’un Dieu qui se dérobe à toute tentative de compréhension. Cette étude est sous-tendue par deux axes de lecture qui mettent en évidence la glorification d’une révolte humaine et la nécessité d’arriver à une compréhension de l’humain, qui serait affranchie de toute scorie mythique. / This thesis is an attempt to understand the relationship between biblical myths and the works of Albert Cohen. The first part of the thesis examines how the myths of Genesis form the main platform on which multiple, and often contradictory meanings tend to manifest themselves. Being mainly a coded language, the myth is profoundly ambivalent as it is the privileged receptacle of different interpretations. Under an apparently ordered story about the creation of man and his downfall, caused by the original sin, the myth hides a generic complexity: the problematic articulation between species (human / animal), genders (male / female) and genres (religious or philosophical / literary). In the second part, the thesis highlights the religious and philosophical aspects of the messianic figures and myths. Messianic attempts at regaining a sense of completeness often coincide with the ontological feeling of dissatisfaction, experienced by mankind. The third part of the thesis deals with myths of revolt and disobedience (Babel, Satan, Job) which highlight the ambivalent nature of the biblical God. This study underlines the glorification of human revolt and the need to ascertain a humanistic view of mankind, free from mythical underlyings.

The thesis is focused on the maximal Cohen-Macaulay modules over simple singular- ities. Previous results on the topic are summarised, and in particular it is shown that a hypersurface is MCM-finite if and only if it is a simple singularity. The stable Auslander- Reiten quivers of simple singularities are drawn for better understanding of the category of maximal Cohen-Macaulay modules over a simple singularity. 1

This thesis investigates Leonard Cohen's Beautiful Losers and Hubert Aquin's Prochain épisode in terms, of postcolonial and postmodern theory. These novels are often interpreted as being either one or the other. Critics rarely take into consideration that both of these works have features which can be seen to fit both theories. Both of these authors are valued as some of the more difficult novels to comprehend in terms of Canadian novels making this thesis even more complex and a challenge to write. It made sense to choose to investigate these two works side by side because they have a lot of similarities. Some of these resemblances range from aspects as basic as the time period when the novels were written to the author's methods of using history to make social commentary. It was also important to use two writers from Montreal, each from one of the two solitudes, in order to explore how their novels fit postmodern and postcolonial theories. This theoretical thesis attempts to show how both Leonard Cohen and Hubert Aquin do not use their writing for a nihilistic purpose. Each author uses historical situations to display a hope for new beginnings in the future. Despite all of the literature that exists on both Leonard Cohen and Hubert Aquin, this study tries to show a different interpretation then what has already been done.

Este trabalho desenvolve a demonstração, dada por Wang em 1977, para a conjectura de Sally, enunciada em 1983, que diz que dado um anel local noetheriano Cohen-Macaulay de dimensão d e dimensão de imersão e + d - 2, onde e é a sua multiplicidade, seu anel graduado associado possui profundidade maior ou igual a d - 1. Utilizando uma propriedade demonstrada por Sally em 1979 (Sally Machine), reduzimos o problema ao caso em que a dimensão do anel é 2, e assim, demonstramos que a profundidade do anel graduado associado é positiva. / This work develops the proof, given by Wang in 1977, for Sally's conjecture, stated in 1983. The conjecture says that given a local Noetherian Cohen-Macaulay ring of dimension d and embedding dimension e + d - 2, where e is its multiplicity, its associated graded ring has depth greater than or equal to d - 1. Using a property proved by Sally, in 1979, called the Sally Machine, we reduce the problem to the 2-dimensional case proving that the depth of its associated graded ring is positive.

Book of Mercy (1984) occupies a central place in the career of Leonard Cohen, as comparison to a wide variety of Cohen "texts," from poetry, the novel and song to the personal interview and music video, reveals. Interviews and book reviews contemporary with Book of Mercy indicate that the latter contains a sincere message of faith and prophetic warning that Cohen publicly defends. Cohen's eclectic but reverent incorporation of language and ideas from Judaeo-Christian traditions of prayer and mysticism shows his regard for the sacred expression of his predecessors. As a result, Book of Mercy stands slightly apart from the rest of Cohen's oeuvre, yet it is not simply an anomaly. Instead, it forms an integral part of a prolonged narrative of spiritual desire that began in 1956 with Cohen's first book of poetry and has continued through to his latest album, The Future (1992) and a recent poem, "On the Path." Book of Mercy marked a renewed sense of artistic vocation and conviction in the work of Leonard Cohen that remains unshaken today.