Thesis (M.S.)--Boston University / In the following thesis I have attempted to illustrate words of a hundred years ago with appropriate photographs of present-day remains of an era. The years covered in the major sections are 1831 to 1848; the subject is slavery and abolition in New England. The Liberator was the most renowned antislavery paper. Selections from it form the text of the major part of this thesis. Complete bound editions of The Liberator may be found in the Boston Public Library, Main Branch, Copley Square. With the permission of the Supervisor I was able to photograph portions of the paper.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.

Thesis (Ph.D.)--University of Tulsa, 1995. / Includes bibliographical references (leaves 186-197).

Made available in DSpace on 2010-04-20T20:12:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2002-08-12T00:00:00Z / Trata de analisar o processo de criação das instituições à luz do pensamento de North (1990) e o seu efeito na trajetória de crescimento econômico das nações. Utilizando a história da Previdência Social no Brasil embasa a sua argumentação que nem todo processo de criação das instituições segue necessariamente os preceitos da lógica econômica.

Made available in DSpace on 2010-04-20T20:54:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2001-12-07T00:00:00Z / This paper analyses the work and rhetoric of Douglass North. After discussing his main proposals for the economics of institutions -1973, 1981, 1990- we investigate the author's speech. It is shown that his conciliatory strategy with neoclassical economics plays a crucial role on the acceptance ofhis ideas. After a brief analysis of the origins of his proposals, we conc1ude stressing the importance of his rhetoric. / O texto faz uma análise da teoria e da retórica de Douglass North. Após discutirmos as propostas em três de seus principais livros - 1973, 1981 e 1990 - testamos a hipótese que motivou o estudo. Ao fazer uma análise retórica de North, procuramos mostrar como o autor construiu um aparato institucional deliberadamente - talvez até de forma questionável - complementar à teoria neoclássica. Após uma breve discussão acerca da originalidade do que propõe, concluímos o trabalho com um destaque para a importância retórica no sucesso de suas idéias entre os economistas.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

Indiana University-Purdue University Indianapolis (IUPUI) / The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.

This thesis explores how Shakespeare was used by Antebellum American writers to frame slave revolts as either criminal or revolutionary. By specifically addressing The Confessions of Nat Turner by Thomas R. Gray and "The Heroic Slave" by Frederick Douglass, this paper looks at the way invocations of Shakespeare framed depictions of black violence. At a moment when what it means to be American was questioned, American writers like Gray and Douglass turned to Shakespeare and the British roots of the English language in order to structure their respective arguments. In doing so, these texts illuminate how transatlantic identity still permeated American thought. This thesis also argues that the conscious use of British literature, Shakespeare in particular, by abolitionists constitutes a critique of the unfulfilled American ideals they believe slavery undermines. In addressing depictions of slave revolts and black masculinity in this period, this thesis explores how allusions to Shakespeare helped frame the historiography surrounding how slave revolts in America were and are remembered.

This thesis explores the presence of the movement theories of Irmgard Bartenieff, Peggy Hackney, and Rudolf Von Laban in the following texts: Narrative of the Life of Frederick Douglass, An American Slave. Written by Himself (1845), The History of Mary Prince: A West Indian Slave (1831), Incidents in the Life of a Slave Girl, Written by Herself, Linda Brent (1861), Sherley Anne Williams’s Dessa Rose (1986) and Toni Morrison’s Beloved (1987). The terms and phrases of movement theory will be introduced to the contemporary critical discussion already surrounding the texts, both furthering and challenging existing arguments.