Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 131-144). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 131-144). Also available on the Internet.

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An analysis of Ernest Buckler's novel The Mountain and the Valley using Jacques Derrida's theoretical perspectives on the nature of writing as supplement. David Canaan is a writer who dreams of writing the perfect novel: his failed dream reveals that writing cannot capture perfection or presence.

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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 203-214).

Thesis (M.A.)--Villanova University, 2006. / Communication Dept. Includes bibliographical references.

T. E. Hulme is a controversial figure in modern literary criticism but his influence on the thought of T. S. Eliot and on the principles behind the Imagist movement is assured. Recent critical examinations of him have discovered strong Romantic tendencies in his thought, in spite of his firm anti-Romantic initial stand. This Romanticism is particularly evident in his aesthetics, in the definition of unity he applies to the image. The aim of this paper is to trace the idea of unity through the whole of Hulme's writings, to clarify his definitions of the idea in different contexts, and to try and discover some basis for the particular definition of unity he uses in the case of the image. Hulme's metaphysics delineates the limits of unity and provides his basic definitions of the term. Hulme denies the principle of continuity which he believes to be the basis of Humanism and Romanticism. In place of one all-pervasive unity, he presents a triple structure, in which each realm is different. The realm of ethical and religious values is unified and unchanging. The realm of the knowledge of mathematics and the physical sciences is unified, yet subject to change. The unity of this realm is the product of the human intellect, of its tendency to organize and manipulate the flux of life, reducing it to counter words. The ideas of this realm, which Hulme believes to be finite unities, will change when new facts are introduced. The realm of life is characterized as a continuous state of flux or change and is not unified. Hulme ascribes to Bergson's theory that man has two ways of obtaining knowledge, by intuition and by intellect. Intuition achieves a direct contact with the flux, obtaining an intensive manifold, in which the parts cannot be separated. The intellect divides things into parts, obtaining an extensive manifold. An awkwardness in Hulme's metaphysics is his belief in Original Sin, which makes man a finite unity. This definition of man is a contradiction of his belief that life is flux and change. Whereas Hulme's metaphysics denies a single unified system of reality, his aesthetics postulates the unity of the aesthetic creation. Hulme begins with a mechanistic conception of art which he subsequently contradicts completely. Art occupies a unique place in Hulme's thought, in that he allows it a vital unity which is inconsistent with any of the definitions of unity brought out in the discussion of his metaphysics. Yet the life-in-death which Hulme allows art is only temporary and will decay into commonplace. In the Cinders theory Hulme asserts that plurality is the nature of reality and that relativity is absolute. Unity is impossible, an illusion, on this theory. Yet a work of art emerges in this discussion as a unity, in which the form contains the content completely. Hulme states that art creates another "mystic" world. Art would appear to be the one unity, bringing together all three realms, which according to Hulme's metaphysics must be discontinuous. At the same time, the existence of an artistic unity, unlike the absolute values of religion and ethics, is ephemeral. The idea of unity, in the writings of T. E. Hulme, has different meanings in different contexts. / Arts, Faculty of / English, Department of / Graduate

Ernest Reyer's career as music critic spanned the second half of the nineteenth century. For more than thirty years he held the position of music critic of the Journal des Debats, one of the most respected newspapers in nineteenth-century France. He also contributed regularly to four journals and the daily Courrier de Paris, and wrote as well for other newspapers and periodicals. Reyer was in addition a conductor and a noted composer, whose major musical works—the operas Sigurd and Salammbo--were performed frequently at the Paris Opera until after the turn of the century. This study deals with Reyer the critic: as a writer on music, he did much to raise the level of musical taste in France during the last third of the century. The dissertation contains ten chapters and two appendices. Chapter I provides a biographical sketch of Reyer before focusing on his personality and his music. Chapter II surveys Reyer's literary legacy: the extent of his writings in newspapers, periodicals, and other publications; his musical preferences; subjects of considerable importance to Reyer; his literary style; and the two compilations of his writings (Notes de musique and Quarante ans de musique, which together represent less than ten percent of his literary production). Chapter III demonstrates that Reyer believed his role as critic was to educate the public, and that he sought to fulfil this role by founding his approach to critical writing on three basic tenets: professional knowledge of music; intellectual integrity; and the consistent application of an aesthetic. The principles of his aesthetic and the consistency of their application are illustrated in Chapter IV through consideration of Reyer's judgments of operatic composition and performance. The next five chapters examine Reyer's writings on topics and composers of particular importance to him. Chapter V studies his views on the complex situation in Parisian lyric theatres during the second half of the nineteenth century, and offers a detailed picture of his conception of an ideal theatre. Chapter VI discusses Reyer's attempts to stimulate public interest in Gluck, Spontini, and Weber, whose works for lyric theatre were either neglected in Paris or known mainly through mutilated versions. Chapter VII outlines Reyer's long struggle—as both critic and conductor—to establish Berlioz's reputation in France. Reyer's advocacy was so effective that some of his countrymen eventually credited him with having done more than anyone else to bring honor to Berlioz in his homeland. Reyer also played a major role in establishing Wagner's music in France, as is shown in Chapter VIII. Chapter IX demonstrates that Reyer's support was important in launching and sustaining the careers of many contemporary French composers, including Gounod, Saint-Saens, Bizet, and Lalo. The final chapter summarizes Reyer's achievement as a writer on music. Among the subjects discussed are the strong influence of Berlioz's writings on both Reyer's literary style and his aesthetic, and the impact of Reyer's writings on Parisian musical life. Appendix A contains an annotated bibliography of Reyer's more than seven hundred critical writings, with an explanation of how they were culled from newspapers and periodicals. Appendix B is a list of other published writings by Reyer. Our examination of his criticism reveals that it would be of interest to have Reyer's complete works available collected volumes. / Arts, Faculty of / Music, School of / Graduate

With the exception of To Have and Have Not, the novels of Ernest Hemingway are set outside the United States; all, however, contain American characters. These Americans might be divided into three categories: American tourists; Americans who live abroad, but either do not like it or are not completely adjusted to it; the Hemingway heroes, characteristically American expatriates who are completely adjusted to and accepted in their alien environments. Toward the tourists, he maintains an attitude of contempt; toward the middle group, his attitude varies from disgust to sympathy; the heroes are, in various guises, Hemingway the expatriate, himself.