Thesis (Ph.D.)--Boston University / Although Harley Granville-Barker has been considered one of the most significant figures in the modern English theatre ever since the early twentieth century, no comprehensive account of his varied achievements has heretofore been written. It is the purpose of this study to provide such an account--to describe and evaluate his contributions to the theatre as actor, producer, dramatists, and critic. Incorporated inna biographical sketch in this dissertation is an account of Barker's work as an actor. After appearing in various contemporary plays and revivals of Shakespeare, Barker made his greatest success as an actor at the Court Theatre from 1904 to 1907, playing the heroes of many of Shaw's plays and of his own. Judging by contemporary accounts, he excelled in realistic portrayals of men of charm and intellectual passion, and his voice was very effective in lyrical moods as well as in repartee. [Truncated]

Thesis (M. A.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 81-91).

A study of the granitic rock types along the Contact of the Timiskaming and Grenville subprovinces to the east of lake Timagami has been made. In the vicinity of the contact of the two subprovinces in the granites of the Grenville subprovince is a wide zone of faulting near which the rocks show wide spread cataclastic texture due to crushing. In this area the granite in the Grenville sub-province is very distinct from the Algoman granite of the Timiskaming subprovince and later than it. The granite in the Grenville subprovince is much fresher than the Algoman granite and unlike the Algoman is high in potash feldspar as determined by Rosiwal analyses. In the latter and other respects it strongly resembles the Killarney granite in Pardo and Dana townships and to the south along the north shore of Lake Huron. In Sisk township it contains a rather rare amphibole hastingsite which is also found in the Creighton granite of Killarney age. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate

Thesis (Ph.D.)--Boston University

Thesis (D. Min.)--Harding Graduate School of Religion, 1980. / Includes bibliographical references (leaves 121-133).

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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England experienced a resurgence of musical talent in the late nineteenth and early twentieth centuries known as the "English Musical Renaissance." This rebirth spanned the years 1880 – 1945 and is credited to the work of Edward Elgar, Frederick Delius, Gustav Holst, and Ralph Vaughan Williams. Their break with Continental compositional models and the subsequent rediscovery of Tudor music and English folk song eventually created a "pastoral" musical style, heard as the authentically English musical voice. A strain of English musical Romanticism continued parallel to the Renaissance, however, represented by Granville Bantock, Joseph Holbrooke, Rutland Boughton, Arnold Bax, and Havergal Brian. These composers retained Continental, specifically Wagnerian, Romantic techniques, including chromatic harmony, leitmotifs, virtuosic use of enormous performing forces, and an emphasis on programmatic music. Their inspiration was drawn from exotic sources and Nature's mystical, dangerous, and beguiling qualities instead of any "pastoral" traits. Each wrote emotionally extravagant music at a time when such was considered foreign to the English character. This dissertation demonstrates the Wagnerian character of these “English Romantics” through examination of stylistic features in representative scores. Further, by presenting scores, criticism, and monographs, it affirms their sustained compositional presence through the twentieth century though English cultural tastes had turned from Germany to France, Russia, and the United States after the First World War. Finally, in challenging the standard narrative of British musical history this study broadens the concept of authentically English music to include a great deal more music “made in England.”

In October 1997 The Emily Carr Institute of Art and Design proposed that a Museum of Moving Images be built at the site adjacent to the intended Granville Island Film Center currently under development permit application at The City of Vancouver. ECIAD intended the museum to show "... the magic in which the film was created by..." In addition, the program would comprise a library of books, videos, and compact discs. The starting point of the thesis was the two key words of the program: "moving" and "image". The museum was dependent not only the phenomenal qualities of site but the recognition of the visceral and of the construction of images through human vision and experience. The thesis explored fundamental constructs of film (the projection of light through an image on transparency onto a surface and further, the way the eye registers that phenomena) as a basic framework for realizing the principles of the moving image. Beginning at the ground both the parking on the site and the adjacent site gradually slopes to the lowest part of the "bar" building which from ground to sky consists of gallery, retail space, library, small theater and administration offices. The bar is intersected by a series of "tubes" containing the museum spaces. The front facade along the retail strip is the point at which all of the program can be read simultaneously. The first tube begins at the point of entry of the museum and gradually rises and switches back and forth through the site up to the third level of the larger bar building where there is a connection to the neighbouring film center, the library, or the roof top. Each tube is punctured with slots that allow glimpses and chance visual connections of other bodies moving through the museum and facilitates the registration of the bodies position within the space of the museum and the site.

Thesis (Th. M.)--Dallas Theological Seminary, 2008. / Includes bibliographical references (leaves [39]-48).