Inaug.-diss.--Göttingen. / Lebenslauf. "Literaturangaben": p. 74-78.

Inaug.-Diss.--Erlangen. / Vita. Includes bibliographical references.

Inaug.-Diss.--Erlangen. / Vita. Includes bibliographical references.

Thesis (Ph.D.)--Boston University / The purpose of this study is to trace the development of Crabbe's poetic art. He is considered not as a thinker alone, but also as a conscious artist who was seeking the most effective form for his vision. The paper's conclusions are based on a careful analysis of Crabbe's works. Before this analysis, however, nineteenth- and twentieth- century criticism of his poetry is surveyed in order to gain an accurate picture of his literacy position in these two centuries. Francis Jeffrey's sympathetic criticism is based on neo-classical principles which consider a work of art as a representation of general reality. Hazlitt's criticism, more influential than that of Jeffrey, views Crabbe's faithful delineation of a known reality as his chief defect. His work, Hazlitt says, lacks Imagination (a term never clearly defined by the critic). With a few exceptions, most nineteenth-century critics repeat Hazlitt's judgment. Twentieth-century criticism, breaking away from that of the preceding century, approaches Crabbe's work with renewed sympathy and understanding. F.R. Leavis is the most important modern critic, viewing Crabbe as a master of the heroic couplet and as a great narrative poet. Most recent scholars agree with Leavis [TRUNCATED]

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references. Also available on the Internet.

Thesis--Zürich. / Lebenslauf. "Literaturverzeichnis": 4th-5th prelim. leaves.

A definitive text of the libretto of Benjamin Britten's opera Peter Grimes is here presented. The process by which it was created is revealed in detail. All the extant versions are collated and significant differences between them displayed. For the first time the scenarios written by Britten and his partner Peter Pears and the first surviving draft versions of scenes by the librettist Montagu Slater are published in full. Additions to the draft and final libretto texts and revisions throughout this process by Slater, Britten, producer Eric Crozier and, in the final scene, poet Ronald Duncan, are clarified and a critique provided. Marked differences in stage directions between the libretto texts and music scores are shown and versions selected or created which offer the best indicative detail for performance practice. The edited text is similarly enriched by the inclusion of performance indicators from various sources added by Britten, Pears and the work's first conductor, Reginald Goodall. The edition is introduced by three 'Perspectives' sections which consider (1) Britten's relationship with Slater and working practice with librettists; (2) the relationship of the work to its original source, George Crabbe's poem The Borough, the difference in the portrait and treatment of the character Peter Grimes and the reasons for the difference; and (3) the particular contribution and features of Slater's writing. Thereafter follow an account of the rationale, principles and practice of the edition and introductions to every scene in which the use of source material, the evolution of the text, the plot development and performance issues of the scene, the presentation of characters and the set are delineated, the latter with reference to photographs of the original set hitherto unpublished.

Representations of the Gypsies and their lifestyle were widespread in British culture in the late-eighteenth and nineteenth centuries. This thesis analyzes the varying literary and artistic responses to the Gypsy figure in the period circa 1780-1870. Addressing not only well-known works by William Wordsworth, Jane Austen, Walter Scott, John Clare, Robert Browning, Matthew Arnold and George Eliot, but also lesser-known or neglected works by Gilbert White, Hannah More, George Crabbe and Samuel Rogers, unpublished archival material from Princess Victoria's journals, and a range of articles from the periodical press, this thesis examines how the figure of the Gypsy was used to explore differing conceptions of the landscape, identity and freedom, as well as the authoritative discourses of law, religion and science. The influence of William Cowper's Gypsy episode in Book One of The Task is shown to be profound, and its effect on ensuing literary representations of the Gypsy is an example of my interpretation of Wim Willem's term ‘paper Gypsies': the idea that literary Gypsies are often textual (re)constructions of other writers' work, creating a shared literary, cultural and artistic heritage. A focus on the picturesque and the Gypsies' role within that genre is a strong theme throughout this thesis. The ambiguity of picturesque Gypsy representations challenges the authority of the leisured viewer, provoking complex responses that either seek to contain the Gypsy's disruptive potential or demonstrate the figure's refusal to be controlled. An examination of texts alongside contemporary paintings and sketches of Gypsies by Princess Victoria, George Morland, Thomas Gainsborough, J. M. W. Turner, John Constable and John Everett Millais, elucidates the significance of the Gypsies as ambiguous ciphers in both literature and art.