Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Thesis (Ph.D.)--Boston University / This study is divided into two parts. Part One consists of an analysis of the critical reception of each. of Edith Wharton's works of fiction. The aim of Part One is to trace the history of Wharton criticism in the past sixty years in order to discover the possible patterns of critical attitudes towards her fiction both when it first appeared and in the present day. Part Two consists of an enumerated annotated listing of all biographical and critical studies of Edith Wharton and her fiction subject to the limitations stated in the work. Since all present listings of secondary sources on Wharton are at best fragmentary, the purpose of Part Two is to compile as complete a bibliography as possible in order to help future students in further research [TRUNCATED]

At its broadest conceptual level, "Simultaneous Diversity: Discontinuity, Entanglement, and contemporary American Fiction" investigates how the rhetoric of discontinuity entangles contemporary evolutionary theory, social theory, science studies, and literary fiction. The dissertation's main focus is a partial taxonomy of the heterogeneous field of contemporary American fiction emphasizing the differences between selected individual novels and novelists along with their commonalities. Rather than attempting to describe a unifying zeitgeist or articulate a particular formal or thematic interest as constitutive of contemporary authenticity or now-ness, dismissing non-conforming works as anomalies or residual slag, "Simultaneous Diversity" affirms that everything in the present is of the present. The result is a dynamic taxonomy of "contemporary American fiction" that interrogates the significance of each of these three terms with respect to each of the texts examined. This taxonomy remains "partial" in both the sense of being necessarily incomplete, and in the sense of being a subjective, or necessarily arbitrary, selection of texts and authors. All the novels discussed herein are in my opinion accomplished works of literary fiction that merit more critical attention, but they do not constitute even a personal "canon", much less a prescriptive one; moreover, while the examined nine fictions by six authors amply demonstrate the simultaneous diversity of contemporary American fiction, they by no means fully encapsulate that open-ended field in microcosm.

Chiu Chau-ming. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves 113-124). / Abstracts in English and Chinese. / Content --- p.i / Chapter A --- Abstract --- p.iii / Chapter B --- List of Examples --- p.v / Chapter C --- List of Tables --- p.vii / Chapter D --- Typographic Conventions --- p.ix / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Theoretical Concepts --- p.4 / Chapter 2.1. --- All-combinatorial hexachords --- p.4 / Chapter 2.2. --- Array and lyne --- p.6 / Chapter 2.3. --- "All-partition array, super-array" --- p.9 / Chapter 2.4. --- M Operation / Transformation --- p.11 / Chapter 2.5. --- Time-point --- p.12 / Chapter Chapter 3 --- Structural Anatomy --- p.15 / Chapter 3.1. --- Properties of the Twelve-tone Row --- p.19 / Chapter 3.2. --- Properties of the Array --- p.25 / Chapter 3.3. --- Array Transformations --- p.30 / Chapter 3.4. --- Projection of Array in Pitch and Temporal Domains --- p.33 / Chapter 3.5. --- Super-arrays --- p.37 / Chapter Chapter 4 --- Surface Details --- p.41 / Chapter 4.1. --- Statements of complete row-form --- p.42 / Chapter 4.2. --- Array element repetition and aggregate size --- p.47 / Chapter 4.3. --- Locations of D-Hexachords --- p.57 / Chapter 4.3.1. --- Two-guitar duet --- p.59 / Chapter 4.3.2. --- Flute-guitar duet --- p.64 / Chapter 4.3.3. --- Violin-viola duet --- p.69 / Chapter 4.4. --- Realization of even-partitioned aggregates 62 and 26 --- p.74 / Chapter 4.5. --- Time-point realization --- p.81 / Chapter Chapter 5 --- Summary and Conclusion --- p.88 / Chapter Appendix 1 --- Partition Types of 58 Aggregates --- p.91 / Chapter A1.1 --- By lynes --- p.91 / Chapter A1.2 --- By lyne pairs --- p.91 / Chapter Appendix 2 --- Array Details --- p.92 / Chapter A2.1 --- Array of Soli e Duettini for two guitars --- p.92 / First Guitar --- p.92 / Second Guitar --- p.94 / Chapter A2.2 --- Array of Soli e Duettini for flute and guitar --- p.96 / Flute --- p.96 / Guitar --- p.98 / Chapter A2.3 --- Array of Soli e Duettini for violin and viola --- p.100 / Violin --- p.100 / Viola --- p.102 / Chapter Appendix 3 --- Pitch-Class Aggregate Size --- p.104 / Chapter A3.1 --- Two-guitar duet --- p.104 / Chapter A3.2 --- Flute-guitar duet --- p.105 / Chapter A3.3 --- Violin-viola duet --- p.106 / Chapter Appendix 4 --- Simultaneity --- p.107 / Chapter A4.1 --- Two-guitar duet --- p.107 / Chapter A4.2 --- Flute-guitar duet --- p.108 / Chapter A4.3 --- Violin-viola duet --- p.108 / List of Compositions by Milton Babbitt --- p.109 / Unpublished Works --- p.109 / Published Works --- p.109 / Bibliography --- p.113 / Writings of Milton Babbitt --- p.113 / Interviews --- p.117 / Writings by others --- p.117

Wut Tai Ming. / Thesis submitted in: December 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 75-81). / Abstracts in English and Chinese. / Abstract --- p.iii / List of Examples --- p.iv / List of Tables --- p.v / Chapter Chapter 1 --- George Crumb's Music --- p.1 / Chapter Chapter 2 --- Literature critique --- p.4 / Chapter Chapter 3 --- Crumb's Musical Borrowing --- p.13 / Chapter Chapter 4 --- "Borrowing of ""Canon""" --- p.17 / Chapter Chapter 5 --- Borrowing of Hymn Tunes --- p.42 / Chapter Chapter 6 --- Conclusion --- p.70 / Bibliography / Writings by George Crumb --- p.75 / Interviews --- p.76 / Writings by others --- p.76 / Appendix / Chapter 1.1 --- List of Compositions by George Crumb / Chapter 3.1 --- Reference/Allusion/Parody / Chapter 3.2 --- Strict Quotation / Chapter 4.1 --- Tritone span / Chapter 4.2 --- """Bist de bei mir"" from Notebook of Anna Magdalena Bach" / Chapter 4.3 --- """Dream Images"" from Makrokosmos I" / Chapter 4.4 --- """Litany of the Galactic Bells"" from Makrokosmos II" / Chapter 4.5 --- """Music of the Starry Night"" from Makrokosmos III" / Chapter 4.6 --- A Chinese poem / Chapter 5.1 --- """Remembrance of Time"" from Echoes of Time and the River" / Chapter 5.2 --- "Comparison between original tune ""Were you there"" and Crumb's quotation" / Chapter 5.3 --- """Devil-music"" and ""Danse Macabre"" from Black Angels" / Chapter 5.4 --- """Night-Spell"" from Makrokosmos I" / Chapter 5.5 --- "Comparison between original tune ""Will there be any stars in my crown?""and Crumb's quotation" / Chapter 5.6 --- Giotto's paintings / Chapter 5.7 --- """Coventry Carol""" / Chapter 5.8 --- "Riddle Song""" / Chapter 5.9 --- """The Realm of Morpheus"" from Zeitgeist" / Chapter 5.10 --- "Comparison between original tune ""Amazing Grace"" and Crumb's quotation"

Using an approach that distinguishes between the epistemologies of critical theory and creative practice, this study investigates notions of originality and influence in literary theory and considers their applicability to the teaching of creative writing and creative writing practice. It argues that current paradigms offer limited and contradictory explanations of these phenomena and makes the case that, through the assimilation of recent philosophical and scientific perspectives into a framework of socially-situated theory, a fresh approach can be developed that acknowledges the embodied experience of the writing process. The study consists of two main research areas: qualitative and literary/theoretical. The literary/theoretical research falls into two strands of enquiry that are closely linked and run parallel to each other throughout the thesis. One strand is concerned with the need to find an ontological structure for creative writing that accommodates practical and theoretical approaches and provides a conceptual framework that allows issues of originality and influence to be seen from both inside the writing process and from an external theoretical perspective. The second strand, evolving within the former, analyses notions of originality and influence historically and more specifically within romanticism and the socially situated theory of Mikhail Bakhtin. The qualitative research was designed to offer a practical and experiential set of findings that could be used to guide the theoretical research. In this research project, using a phenomenological methodology, a group of part-time adult creative writing students (14 participants) were asked to reflect on their perception and experience of originality and influence in the writing process. Their responses were returned in the form of questionnaires and the findings were collated into fourteen key themes. The theoretical research contextualizes the study within debates with student writers in writing workshop sessions about issues of influence and originality in critical peer review. After a discussion of the pedagogic and theoretical issues that these debates generated, including an analysis of the impact of romanticism on contemporary notions of creativity and a survey of developments in pedagogic theory in creative writing, the literary/theoretical research goes on to explore notions of originality and influence in the work of Bakhtin and romanticism in greater detail. It develops a critique of Bakhtin's socially-situated theory of creativity and argues that this is due to a weakness in the ontological premises of Bakhtin's conceptual framework. Moving to a study of romanticism it proposes that Bakhtin's socially-situated theory fails to fully understand or assimilate embodied emotionality into its ontology and that the embodied emotionality in romanticism, when seen through a more contemporary paradigm of embodied realism reveals the shortcomings in socially-situated theory. The final section on embodied realism and the impact of neuroscience on studies of the body and emotionality argues for a fresh ontological perspective, which would resolve the paradoxical nature of the relationship between an epistemic, socially constructed view of reality and a more biologically determined notion of human nature. In the discussion of key findings and in the conclusion to the research the thesis shows how, by adopting the ontological perspective of embodied realism and incorporating it into socially-situated theory, new perspectives on originality, influence and creativity can be developed that fully integrate epistemologies of theory and practice, and offer a grounded theoretical position from which to construct a viable pedagogy for creative writing. Finally, the thesis offers ideas for further research and discusses ways in which this combined approach can be applied to teaching practice, offering examples of exercises developed during the course of the study and covered by the main topics of research.

本文嘗試論証詩篇卷四包含一摩西詩組（90-100 篇），而且摩西詩歌傳統之影響遍及全卷，成為詩卷主要詮釋角度和框架。本文將於第一章先確立五經中的摩西詩歌傳統，探討其年代，描述其面貌和內容，及其中之摩西形象。然後，本文將確立卷四中的摩西詩組及其與五經中摩詩傳統的對應關係。透過第二章探討卷四中的摩西形象及其作用，本文確立了摩西詩組與申32-33章的對應關係和卷四的摩西傳統詮釋框架，而藉第三章探討卷四的結構，本文確立卷四是一經編修之詩集，結構嚴整，各詩的關連緊密，在表達詩卷訊息上各具功能，這就使摩西傳統的影響力遍佈全詩卷。第四章藉探討卷四中的大衛詩組和引用了三首卷四詩的代上16章，來看卷四中的摩西傳統，發現大衛詩組在卷四中不單在摩西傳統的籠罩之下，更是被擄後群體將信仰建基於摩西傳統並加回應的作品。而從歷代志的引用則可見當時摩西的詩歌傳統權威應已根深柢固，家喻戶曉，而詩篇卷四亦應起碼已具雛型。第五章是總結。本文對摩西在詩篇中的地位和重要性，詩篇正典的形成及其結構、訊息，摩西在五經以外希伯來經卷中的形象，經文間的對話（如詩篇與五經及歷代志的對話）等方面，應能帶來新的探討方向。 / In this thesis, it is argued that there exists a Mosaic Psalm group (Pss 90-100) in the Fourth Book of Psalms and the Book is under the influence of Mosaic Psalmic Tradition. Book Four is framed by this tradition and should be interpreted accordingly. It is argued in the first chapter that the Mosaic Psalmic Tradition is already established in the Pentateuch. Its date, composition, content and the Moses’ images therein are investigated. By exploring the Midrashic Tradition and the use of Psalm title, it is discussed in chapter two that Psalms 90-100 form a Mosaic Psalm group and it corresponds with Deut 33. Both of them are composed to respond to the Song of Moses (Deut 32). By exploring the use of Moses’ images in Book Four, it is proposed in chapter three that there is a Mosaic frame in Book Four by which the whole Book should be interpreted. In chapter four, by the analysis of the structure of Book Four, in which the three parts of it are closely tied together, it is demonstrated that the Mosaic influence permeates them. And by exploring the relation between Davidic and Mosaic Psalm groups, David’s image in Book Four, and the way 1 Chronicle 16 compose a new Psalm by using the three psalms in Book Four, it is discussed, in chapter five, that the Davidic Psalm group is used by the post-exilic congregation to respond to the tragedy of exile which has been proclaimed in Deut 32. And in the time of Chronicler, the Mosaic Psalmic Tradition is authoritative and the prototype of Book Four already exists. And chapter six is the conclusion. / This paper affirms the importance of Mosaic Tradition in Psalms (especially Book Four) and Psalmic worship, which has been neglected in the scholastic circle for a long time. It may also contribute to the studies of the formation, structure and message of the canonical Psalter. The discussion of the Mosaic images in the Hebrew Bible beyond the Pentateuch may also be enriched by this thesis. And the new trend of conversation between Biblical books may prove promising in this paper too. / Detailed summary in vernacular field only. / 莫鉅智. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 224-237). / Abstracts also in English. / Mo Juzhi.

by Clara Cheng Mung Lai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1997. / Includes bibliographical references (leaves 172-182). / Abstract --- p.i / Acknowledgements --- p.v / Abbreviations --- p.vii / Introduction A Voyage Out: To Love --- p.1 / Chapter Chapter One --- From Home to Hotel: The Desire for Romantic Love in Postures --- p.12 / Chapter Chapter Two --- "From Hotel to Hotel: The Obsession with Material Objects in Good Morning, Midnight" --- p.57 / Chapter Chapter Three --- From Island to Attic: The Pursuit of Self- realization in Wide Sargasso Sea --- p.103 / Conclusion A Voyage Back: To Confinement --- p.151 / Notes --- p.166 / Works Cited --- p.169 / Bibliography --- p.172