In spite of the enormous resurgence of critical interest in minor figures of the Victorian era over the last twenty years, almost no attention has been paid to Francis Turner Palgrave (1824-1897). In his own age, he was respected as a man of letters, educator, art critic, poet, friend of Alfred Tennyson, and editor of The Golden Treasury of the Best Songs and Lyrical Poems in the English Language, first published in 1861. This dissertation attempts to make good that neglect in two ways: firstly, through an analysis of his life and times, an assessment of his writings as an art and literary critic, an examination of his considerable corpus of original poetry, and the compilation of the first comprehensive bibliography of his own publications. This bibliography is accompanied by a checklist of manuscript sources and a listing of secondary materials about Palgrave himself. Secondly, the dissertation makes the first systematic examination of the Golden Treasury, its genesis and editing principles, its critical reception, and its publication history. This detailed study is accompanied by eight appendices giving bibliographical information about the form and contents of the four major editions of the Treasury published in Palgrave's lifetime, along with a listing of sources and a checklist of contemporary reviews. Throughout the dissertation, the intellectual concerns that led Palgrave to develop a set of fixed principles for judging all art and literature are examined in order to establish that, like his friend Matthew Arnold, he was a committed Hellenist, who insisted that all poetry conform to what he perceived as the "Homeric" ideals of simplicity and unadorned language. The Golden Treasury, in particular, is based on an ideal of "unity" which Palgrave used to justify the many editorial excisions and variant readings which are such a feature of the volume's texts. It is impossible to account fully for the unprecedented success of the Golden Treasury, which has continued to be reprinted in a variety of editions from the time of its first publication until the present, but one of its most important features is that it is the first anthology of English lyric poetry to declare itself complete: Palgrave insisted that the book contained all the best lyrics in the English language. Just as significant is the fact that it is the first anthology by a professional educator who refused to make his selections on the basis of their morally improving qualities, but relied instead on poetic excellence alone. "Francis Turner Palgrave and The Golden Treasury," therefore, attempts to account for the extraordinary success of the Golden Treasury and to examine one of the nineteenth-century's more interesting minor figures, one who was a friend of some of the most brilliant men of his day, including Jowett, Browning, Arnold, Clough, and Gladstone; a recognised minor poet of the "contemplative" school which included Arnold and Clough; and a well-known champion of the Pre-Raphaelite painters. / Arts, Faculty of / English, Department of / Graduate

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The main object of this thesis is to explain in a systematic fashion Francis Hutcheson's moral theory. Such an attempt will necessarily involve a discussion of the various philosophical problems which are inherent in his theory. For example, I discuss the issue of whether Hutcheson's theory of the moral sense is to be interpreted in an intuitionist or an emotivist fashion. It is argued that some aspects of his moral sense theory favour the former and some the latter interpretation. Hutcheson's theory of benevolence is outlined and his arguments against the psychological egoists are discussed. Perhaps the most important problem with Hutchesoh's moral sence theory is the problem of motivation. Any moral theory which locates the virtue of virtuous actions in the motive from which they are done, as Hutcheson's does, will encounter problems in explaining how knowledge of right and wrong can influence us to be virtuous. Hutcheson's ingenious solution to this problem and his theory of moral motivation, which I suggest have not been adequately discussed previously to this thesis, are explicated at length. Hutcheson's criticisms of the moral rationalists are considered, as are Price's criticisms of Hutcheson. A final chapter attempts to show how the development of Hutcheson's thinking was the result of his realizing the implications of his own theories, especially his theory of moral motivation.

Thesis advisor: Stephen F. Brown / The purpose of this dissertation is to provide a systematic account of St. Bonaventure of Bagnoregio’s doctrine of grace. More particularly, the dissertation argues that a systematic account of this kind can only be provided by attending to that doctrine through his theology of hierarchy, a methodology that derives from the Seraphic Doctor’s own claim in the Legenda Maior that St. Francis was a vir hierarchicus, or a “hierarchical man.” Throughout the course of his theological career, the Seraphic Doctor defines sanctifying grace as a created influentia that “hierarchizes” human beings by purifying, illuminating, and perfecting them from within, thus causing them to become a “similitude” of the Trinity. This dissertation explains what this means and why it matters. Methodologically, the dissertation proceeds in three parts. Part I, “Theological Foundations for Bonaventure’s Doctrine of Grace,” lays the necessary groundwork for the rest of the project in two ways: first, by introducing three historical figures whose work will provide indispensible theological contexts for approaching Bonaventure’s doctrine of grace, namely, Pseudo-Dionysius, Thomas Gallus, and Alexander of Hales; and second, by introducing the Seraphic Doctor’s own theology of hierarchy as he inherited it from these sources. Part II, “Bonaventure’s Doctrine of Grace,” then builds upon these foundations to present a systematic account of that doctrine as it developed in some of his most important works throughout his career as a theologian. Part III, “Theological Implications of Bonaventure’s Doctrine of Grace,” concludes the dissertation by exploring how that doctrine can inform scholarship on Bonaventure’s theological anthropology, Christology, and theology of sanctity, respectively. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

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« Une réthorique par objet ». Les mimétismes dans luvre de Francis Ponge est constitué essentiellement dune lecture intégrale des recueils de Francis Ponge Le Parti pris des choses (1942) et Pièces (1961), qui sont analysés et interprétés sous langle des mimétismes, cest-à-dire de ladéquation de lécriture à la « chose » dont le texte fait son objet. Cette lecture occupe les chapitres III et IV, les plus longs de lensemble. Le premier chapitre, qui est le plus théorique, est constituée dune tentative de définition de la notion de « mimétisme ». La tâche nest pas aisée et sa difficulté réside dans le fait quil existe de nombreuses façons daborder cette notion complexe, que lon se base sur le sens commun, sur la rhétorique du Groupe µ, sur les linguistiques de Saussure ou de Hjelmslev, sur la sémiotique de Pierce, sur le triangle dOgden-Richards, sur le carré sémiotique de Klinkenberg, sur les fonctions du langage de Jakobson, sur la notion de « cratylisme » que lon doit à Gérard Genette ou sur les déclarations des poètes. Cela aboutit à la proposition de définition suivante : « Les mimétismes sont des procédés stylistiques de formes variables visant à minimiser larbitraire du signe, cest-à-dire à motiver quelque peu le langage en établissant un lien entre la forme du plan du contenu et la forme du plan de lexpression, ou, plus précisément, en établissant un lien entre certaines particularités de lécriture et certains sèmes contenus, selon la conception des choses présentées au sein du texte, dans le signifié du mot désignant la chose. Ce faisant, ils activent dun même mouvement les fonctions poétiques et référentielles du langage. » Ce premier chapitre cherche également à circonscrire quelques concepts proches et à situer, très brièvement, la notion de mimétisme dans une réflexion générale concernant la poésie. Le deuxième chapitre confronte la recherche exposée aux différentes tendances de la critique pongienne. Il ne sagit pas décrire lhistoire de celle-ci pareille histoire demanderait un travail en soi , mais de préciser en quoi létude systématique des mimétismes pongiens peut avoir un sens, alors que leur existence est connue depuis toujours : Jean-Paul Sartre, en 1944, en décrit déjà un, dans une note en bas de page. Après les chapitres III et IV, qui voient défiler chaque poème sous la loupe mimétique, le chapitre V est consacré à une analyse tabulaire des résultats obtenus, brassés globalement dans lespoir den dégager quelques enseignements. Les centaines de mimétismes relevés dans les deux recueils y sont classés deux fois, dabord de façon thématique, selon les motifs mimés et une ensuite selon des critères formels, en fonction des modalités du langage poétique qui sont mis en uvre.

After World War I, a significant change for the concepts of culture and art occurred in France, which eventually causes a cultural revolution. Francis Poulenc (1899-1963) experienced such a transformation and became one of the most important French composers and pianists in the twentieth century. He was a member of the French group Les Six; his music was therefore often considered informal. However, those who had ever listened to his music were impressed deeply by the graceful melodies and rich harmonies presented in his works. Poulenc was prolific, producing a total number of 34 opuses for piano. In particular, he finished most of his outstanding works in the 1930s, of which Nocturnes is the most representative. Nocturnes is characterized by two main elements generally found in Poulenc¡¦s works, referred to as Neo-classicism and Popular Music, from which the characteristics of his piano music can be realized comprehensively. The primary purpose of this thesis is to thoroughly discuss Poulenc¡¦s famous piano pieces Nocturnes. The thesis is organized as follows. Firstly, the development of French cultures in the early twentieth century is introduced particularly with a historical perspective. In Chapter 2, Poulenc¡¦s life and his composition style are presented, followed by an emphasis on the unique characteristics of his piano music. Chapter 3 describes the background when Poulenc composed Nocturnes, with a discussion of the skills required for the interpretation. It is anticipated that this study is capable of offering the understanding of Poulenc¡¦s piano music.

Texte remanié de: Dissertation--Mainz--Universität, 2003. / Bibliogr. p. 373-420.

Proefschrift--Letteren--Universiteit Leiden, 2001. / Bibliogr. p. 121-139.

Part of Thesis (Ph. D.)--University of Chicago, 1933. / Photolithographed. "Private edition, distributed by the University of Chicago libraries." "Bibliography of the writings of Francis Sabie": 2d prelim. leaf.