Thesis (Ph. D.)--Catholic University of America, 1939. / Includes bibliographical references (p. 151-157).

This study investigates the way in which experience comes to givenness in three novels by the early twentieth century American writer Dorothy Canfield Fisher (1879-1958). By utilizing a model of affectivity set up by the French phenomenologist Michel Henry, the investigation uncovers unthematized strata in The Brimming Cup (1921), Rough-Hewn (1922), and Her Son’s Wife (1926) in which subjectivity is phenomenalized as auto-affective and immanent. These strata are phenomenologically distinguished from those in which subjectivity comes to givenness as conditioned by transcendent, hyper-presentational presence. The investigation shows that in these novels, objectified presence is predominantly favored as real. Michel Henry’s distinction between affectivity and sensibility helps delineate the asymmetrical way in which affectivity as the primary, pre-self-conscious phenomenalization of subjectivity can be understood in relation to sensibility as the self-reflective, horizon-oriented phenomenalization of subjectivity. Methodologically, the study remains faithful to Edmund Husserl’s phenomenological reduction which excludes transcendent considerations of the texts. Michel Henry’s model of affectivity refutes Martin Heidegger’s understanding of subjectivity as always already thrown into a transcendent world. Nevertheless, Heidegger’s distinction between zuhanden and vorhanden is utilized in the study to clarify the integrity of a presence that cannot be posited in front of a presentational gaze. Canfieldian subjectivity is troubled by an inability to disentangle itself from this objective gaze and by its disbelief in the possibility of nonobjectified, yet real, experience. Instead subjectivity comes to validate realness as presentational vitality. Paradoxically, however, relief from suffering occurs primarily in instants that are free from phenomenalizations of life as vitalism. In such moments, subjectivity is phenomenalized as presentationally empty, existing in a nonpresentational space untouched by presentational meaning.

Since its inception, the African American Church has played a vital role in the African American community. During the late eighteenth and early nineteenth centuries, the black Methodist movement began. Methodism was the first separate denomination formed by African Americans in the United States and remains one of the largest denominations populated by African Americans. Presbyterianism became a part of African American culture during the mid nineteenth century. Within many black Methodist and Presbyterian churches, the tradition of the musical liturgy, which included the music of European classical composers, was expected to remain unchanged, and even today many of the churches within these denominations have held fast to a traditional music liturgy.For many black women coming of age during the late eighteenth through to the twentieth centuries, the time of the composers Florence Price (1887-1953) and Dorothy Rudd Moore (b.1940), the music liturgy of the African American Presbyterian and Methodist church aided them in their exposure to European classical composers and their compositions. This document explores the premise that exposure during their formative years to European classical music within their Presbyterian and Methodist churches helped to nurture Price and Moore's approaches to classical music composition. Included in Appendix A and B are works lists of Florence B. Price and Dorothy Rudd Moore. These works lists were organized by the author from various sources and should prove helpful to those interested in the research and performance of the composers' works.

"Because the writings of such an author as Mrs. Fisher would be helpful to students of regional America, and also because the writer of this paper has a parallel regional background, Dorothy Canfield Fisher seemed a particularily interesting subject for a bio-bibliography. She was a prolific writer, publishing ten novels, many books about the education of children and adults, stories for children, and innumerable short stories and articles. In addition she served on the original committee of selection for the Book-of-the-Month Club for twenty-five years. Family and academic life in the middle-West, and experiences garnered during her travels abroad are reflected in many of her stories, but the major portion of her writings is concerned with Vermont and New England. It is beyond the scope of this paper to include all the literary or critical works by Dorothy Canfield Fisher. The present study endeavors to give the reader a resumé of the events in Mrs. Fisher's life and their influence on her writing as evinced only in her novels, together with a critical evaluation of these works as found in contemporary reviews"--Introduction. / Carbon copy of typescript. / "August, 1959." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Sara K. Srygley, Professor Directing Paper. / Includes bibliographical references (leaves 78-84).

Thesis (M.A.)--Tennessee Technological University, 2009. / Title from title page screen (viewed on Feb. 10, 2010). Bibliography: leaves 71-74.

Thesis.

Thesis (Ph. D.)--York University, 1997. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves 273-286). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ22896.

This thesis offers a reevaluation of selected short stories by Dorothy Parker. Although receptions of Parker's work have been predominantly negative, this is not seen as cause for lament, but rather for a revision of literary valuing practices and the canonical paradigms they support. Traditional assumptions about the status of so-called "minor" literature and its subservient relation to canonical works are rejected in favour of a revised appreciation of the qualities specific to minor modes of writing.

No description available.

Since 1939, Dorothy Munger's career has encompassed many roles-piano teacher, accompanist, soloist and ensemble performer. Munger's early piano training included study with Karin Dayas, Rosina and Josef Lhevinne, and Guy Maier. Munger's professional performing career has included work with the Indianapolis Symphony Orchestra, solo concerto performances with orchestras around the Midwest, and accompanying for members of the Metropolitan Opera in solo recitals. Honors bestowed upon Dorothy Munger include an endowed chair with the Indianapolis Symphony Orchestra, being named a Steinway Artist, and having a performance hall named for her at Meridian Music Company in Indianapolis.Munger has served on the faculties of Jordan College of Fine Arts (now part of Butler University) and Indiana Central College (currently University of Indianapolis). Her teaching career became internationally recognized when she spoke at two European Piano Teachers Association annual conventions. At these events Munger gave workshops discussing her technique of playing with relaxed wrists and forearms.Munger students learn to keep their wrists relaxed by using motions which relate to the rhythm of the music. These motions allow the fingers to work without interference from tension in the shoulders, forearms, or wrists. Forte passages are performed by using the weight of the body to its full capacity without "pushing" the keys. The use of the diminished seventh chord helps teach the student how to create a full chordal tone while strengthening every finger. Diminished seventh exercises include chord jumps, inversions, and arpeggiated patterns. Using wrist motions during scale practice keeps the passage steady along with keeping the arm relaxed.Munger students have excelled as performers and teachers using these relaxed wrist and arm techniques. Many pianists have come to Munger with physical problems due to tensions while practicing and performing. Dorothy Munger works with all students individually to teach them the basics for performing to their capacity without injury. This information may provide a resource for others studying the methods of successful teachers. / School of Music